| = INDICA A COLLECTION OF ORIENTAL WORKS

THE NATYASASTRA

BHARATA-MUNI

TRANSLATED INTO ENGLISH BY MANOMOHAN GHOSH, M. A, Ph. D-

WORK

ISSUE NUMBER NUMBER 272 1559

CALCUTTA : ASIATIC SOCIETY OF BENGAL 1, Park Street.

„ * 1951

BIBLIOTHECA INDICA Work No. 272

THE NATYASASTRA ‘A TREATISE ON HINDU DRAMATURGY AND HISTRIONICS

FS em THE NATYASASTRA A Treatise on Hindu Dramaturgy and Histrionics Ascribed to BHARATA*MUNI Vol. I. (Chapters I-XXVII)

Completely translated for the first time from the original Sanskrit with an Introduction and Various Notes

by Maxnononan GuHhosnu M.A, Pu. 0. (Cat)

2S CLF {959

CALCUTTA THE ROYAL ASIATIC SOOLETY OF BENGAL

1 ^^

५}, ne 19494 33000

Dedicated to the memory of those great scholars of India.and the West who by their indefatigable study and inyentous interpretation of her Religion, Philosophy, Literature and Arts, have demou- strated the high value of Indias culture to the World at large and

have helped her towards a reawakening and political liberation, and

who by their discovery of the Universal aspect of this culture

have made patént India’s spiritual kinship with the other ancient

nations of the World and have paved the way for an ultimate

trimmph of Internationalism.

PREFACE

The preparation of an annotated English translation of the Natyadastra entrusted to me as early as 1944, by the Royal Asiatic Society, has been delayed for various reasons which need not be recounted here.in detail. But mention must be made of one important factor of this delay, viz., the inherent difficulty of this very old text which is not yet available in a complete critical edition. From my first serious acquaintance with it in 1925 in connection with the editing of the Abhinayadarpana (Calcutta, 1934) this work has always engaged my attention in the intervals of other duties. But it was only a few years ago, that I came to believe that the

‘entire work could be translated into English. It was, however, only

after making some actual progress in translation that I realised the difficulty of the task and understood to some extent at least why no complete translation of this very important text had so far not been made. =,

However, I considered it a duty to make strenuous efforts and proceeded patiently with the work and finished at last translat- ing the major portion of the Natyagastra. Iam now genuinely happy to place it before the scholarly public, not because it could be done in an ideal fashion, but because it could be finished at all.

In handling a difficult old text like this it it natural that one has to offer conclusions and interpretations, here and there, which due to the absence of better materials cannot be placed on surer grounds. But whatever tentative assertions I have made, have been made after the most careful consideration with the expectation that they may prove helpful to others working in this field, and it may be hoped that their number has not been too many, and ina few cases where I myself had any doubt about the interpretation offered, the same has been expressly mentioned in the footnote.

The chapters on music covering a little more than one fourth of the Natyasastra still remain to be done. These when completed will be published in the second volume. As the work on it, is progressing very slowly and it cannot be said definitely when it will be finished, it was thought advisable to publish the portion of the translation already prepared. Though the musical terms occur "ing in the present volume remain undefined, the absence of chap- ters on music where they have been discussed, will not, it is hoped, seriously interfere with the understanding of the dramaturgy and histrionics treated here.

For information regarding the plan and scope of the present work, the reader is referred to the Introduction, section J.

For the purpose of this volume, works of various scholars have been helpful to the translator and they have been mentioned

VI

in proper places. But among them all, thé American Sanskritist Dr. 6. €, 0. Haas deserves to be specially mentioned ; for his plan of the translation of the Dagariipa, has been adopted in a slightly modified manner in the present work, = ,

I am indebted to Dr. 8. K. De, due to whose kindness I could utilise the unpublished portion of the Abinavabhiarati. It is also a great pleasure to acknowledge the uniform courtesy of different officers of the Society from 1947-1950, especially Dr. K.N. Bagchi, and Dr. Niharanjan Ray, the General Secretaries and Mr. 8. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji. the Superintendent of the office, whose patience I had to tax on different occasions in course of the publication.

I am grateful to my father-in-law Sri Kali Charan Mitra who read the original draft of the first fourteen chapters of the present work and made suggestions regarding the language, and to my esteemed friend Dr. 8. N. Ray, M.A.,Ph.D. (London) formerly Head of the NDepartment of English in the University of Dacea, for reading the proof of the first twelve formes and also for going through in Mss. the Introduction and for making welcome suggestions,

I wish to mention here very gratefully the debt I owe to Dr. Kalidas Nag in connexion with the preparation and the publi- cation of this work. But for his suggestion to undertake this work it might not have reached at all the stage of publication.

Last but not the least it becomes my most cheerful duty to express my gratitude to Prof. Suniti Kumar Chatterji, who has also helped me otherwise in connexion with this work. This help and his constant encouragement have rendered this work less arduous than it might otherwise have been,

_ I should here also apologise to the readers for the many mis- prints that have crept into the volume, They are requested to make kindly, the necessary corrections pointed out in the corrigenda.

25th November, 1950 The Translator

a. Abhi. AD.

A. dy.

Ag., Abhinava

Bhamaha. BANC. BhP,

Cc.

©.

Caru. css. Dandin. def.

De’s Ms.

DR. Ditagha. Ditava.

Ex. Foundation. G. GOS.

Haas,

T. Ant.

THQ.

ID., Ind. Dr. Ttihasa, JDL,

JK,

ABBREVIATIONS AND SYMBOLS

... The first hemistich of a verse. .» Bhasa’s Abhisekanataka. ,, NandikeSvara’s Abhinayadarpana. .. Arthadyotanika, Raghavabhatta’s commentary on the Sakuntala. १ Abhinavagupta or his commentary of the Natyasastra. . Ardhamagadhi. .«» Bhaga’s Avimaraka. ... Kautilya’s Arthagastra (ed. Jolly). ... Kautilya’s ArthaSastra (ed. Jolly). Vol. II. ». Baroda ed. of the Natyasastra. ... The second hemistich of a verse. ... Bhasa’s Balacarita. ५ Bhamaha’s Kavyalamkara. ... Bhasa-nataka-cakra ed. by C. R. Devadhar ... Saradatanaya’s Bhavaprakaéana. .. Chowkhamaba (Benares) edition of the Natyasastra. ... The third hemistich in a stanza. .. Bhasa’s Carudatta. .» Chandah-sara-samgraha. ,,. Dandin’s Kavyadaréa. „५, Definition or definitions. w. The Ms. of the Abhinavagupta’s commentary (Abhinavabharati) belonging to Dr. S. K. De. ,., Dhanafijaya’s Dasartipa. ... Bhasa’s Dittaghatotkaca. .. Bhasa’s Dittavakya. ... Example or examples. ,., Nobel’s Foundation of Indian Poctry. ,,, Je Grogset’s edition of the Natyasastra. ... Gaikwar’s Oriental Series. ,.. Haas’s translation of the Dasartipa, , Indian Antiquary. ,,, Indian Historical Quarterly. ... Sten Konow’s Indische Drama. ... Haldar’s Vyakarana-darSaner Itihasa. ,,, Journal of the Dept. of Letters, Calcutta University. _ १, Vidyalamkara's Jivanikosa.

x

ष, KA. Karna.

Kavi.

KS.

Kumara.

Kutta.

Lévi,

Madhyama.

Malati.

Malavi.

MG.

Mrech.

Mudra.

Na aksana. sae

ND. NIA Nitti-Dolei. Ns

ॐ

२५९, Pan. Pingala. Pischel. Pr. P, Pr. Prak, Pratima. Pratijiia. PS,

Svapna. tr., trans. Uttara, ,

„^, Kavyamala ed. of the Natyatastra. „५ Hemacandra’s Kavyanuéasana. Bhasa’s Karnabhara Ramakrishna Kavi or his commentary to the che XVII. of tha NS

.. Vatsyayana’s Kamasitra.

.. Kalidasa’s Kumarasambhava. .. Damodaragupta’s Kuttanimata.

.. Sylavain Lévi's Le Théatre indien.

.. Bhasa’s Madhyamavyayogs.

.. Bhavabhitti’s Malatimadhava.

.. Kalidasa’s Malvikagnimitra. ,

. Coomaraswamy’s Mirror of Géstures.

. Sadraka’s Myechakatika, * Viéakhadatta’s Mudraraksasa.

.. Sagaranandin’s Natakalaksanaratnakosa.

... Ramacandra and Gunacandra’s Natyadar pana. .. New Indo-Aryan.

.. Nitti-Dolei’s Le Grammairiens Prakrit. ०" Natyagastra,

.. Purana.

.. Pay caratra

, Panini

.» Pangala's Chandahstitra, =

, Pischel’s Grammatik der Prakrit-sprachen. १ Prakrta-Paingala.

, Pratiéakhya.

.. Prakarana,

+» Bhasa’s Pratima-nataka,

.» Bhasa’s Pratijia-yaugandharayana.

i Paniniya-Sikga.

, Paia-sadda-mahannavo,

.. Ramayana.

, Harga’s Ratnavali.

«» Kalidasa’s Rtusamhara.

.. Kalidasa’s Abhijfianasakuntala.

». Sahityadarpana.

Sarngadeva’s Samgitaratnakara, Bhoja’s Syhgaraprakaga,

.. Bhasa’s Svapavasavadatta, ५» translation or translated. ६ Uttararamacarita of Bhavabhuti.

xl

Uru. ..» Bhasa’s Urubhanga. ; Vikram. ... Kalidasa’s Vikramorvasiya. Winternitz. , Winternitz’s History of Indian Literature.

NB. (a) Numerals preceding the paragraphs of the translation relate to the serial number of couplets in the original. When the same number is repeated in two consecutive paragraphs, in the first place it will indicate the first hemistich and in the second the second hemistich. Roman figures relate to the chapter of the NS.

* (0) For the “manner of referring to dramas, see under the Bhasa- nataka-cakra in the’Bibliography (Original Texts).

(c) In the footnotes to the Introduction long’ vowels, cerebral sounds and'the labial sibilant have been indicated by italics,

BIBLIOGRAPHY 1, General Works

Barua, B. M, ,.. Inscriptions of Asoka, Vol. I, Caleutta 1943.

Chatterji, 8. K. ... Origin and Development of the Bengali Language, Calcutta, 1926.

Coomaraswamy, A, K. ... The Mirror of Gestures, New York, 1936.

De, 8. K. ... Sanskrit Poctics: Vol. I and II, London, 1903, 1926.

Ghosh, Chandramohan ... Chandaljsirasamgraha (CSS ), Calcutta.

Haldar, Gurupada w» Vyakarapa-darsaner Itihasa (Itihasa). (An his- torical account of the grammatical speculation , of the Hindus

in Bengali), Calcutta, 1850 BE. .. Hindu Law and Customs, Calcutta, 1929.

dolly, J. ,

Keith, A. B. ... Sanskrit Drama, Oxford, 1924.

Konow, Sten. ... Das Indische Drama, Berlin, 1920.

Lévi, Sylvain ... Le Théatre indien, Paris, 1890.

Mankad, D. R. ५९ Types of Sanskrit Drama, Karachi, 1936.

Nitti-Dolei, L. ... Les Grammairiens Prakrit, Paris, 1938.

J. Nobel. w Foundation of Indian Poctry, Caleutta, 1925.

Pischel, R. ... Grammatik der Prakrit-sprachen, , Strassburg, 1900,

Pusalker , Bhasa, Lahore, 1940.

Raghavan, V. as Srogara-Prakaga, Bombay, 1940.

Seth, H. D. ... Pajasaddamahannavo, Caleutta, 1928.

Sirear, D.C. ,., Select Inscriptions bearing on Indian History

; and Civilization, Caleutta, 1942. Vidyalamkar, 8.B. —_... JivanikoSa (A dictionary of the Puranie mytho- logy in Bengali), (‘aleutta.

१, Original Texts

Abhinavabharati (Ag.) ... On chapters I-XX ed. Ramakrishna Kavi in B. On chapters XXI-XXVII and XXIX-XXXII the Ms. of Dr. 8. ए. De. Reference to the Ms. are to its pages. Printed portion of the commentary when referred to, relates to the relevant text in B,

Abhinsyadarpana of Nandikeévara ( AD.), Ed. Manomohan Ghosh Caleutta, 1934.

Abhigekanataka (Abhi.). Ed, Devadhar in BhNC.

Arthadyotanika, Nirnayasagara ed.

Avimaraka, Ed. Devadhar in BNC, ।

Arthaéastra of Kautilya (4६). Ed. J, Jolly, Vole I and I, Lahore, 1928-24.

0

Uttararamacarita of Bhavabhiti (Uttara.). Ed. Ratnam Aiyar, Bombay 1930. {007808४ (Uru.). Ed. Devadhar in BhNC. Rtusamhara of Kalidasa, Ed, Jivananda Vidyasagar, Caleutta, 1893. _ Karnabhira (Karna ). Ed. Devadhar in BhNC. Kavyadaréa of Dandin. Ed. N. Sastri, Lahore, 1990, Samvat. Kavyalankara of Bhamaha. Ed. B.N. Sarma and B. Upadhyaya Chow- khamba. Benares, 1928.

Kavyalamkara'of*Vamana, Ed. K.P. Parab & W. Pansikar, Bombay, 1926,

Kyyptilata of Vidyapati, Ed. Haraprasad Shastri.

Kuttanimata, Ed. in Bibliotheca Indica, Caleutta.

Carudatta of Bhisa (Caru), Ed. Devadhar in BhNC,

Dagaritipa (DR). Ed. K. P. Parab, Bombay, 1897. Our references are to thgs edition, The ed. of. G.C.O. Haas with an English tran- slation has also been referred to. F. Hall's ed. (Bidlsotheca Indica) has also been used:

Ditaghatotkaca of Bhisa (Dittagha.) Ed. Devadhar in BhNC. Dittavakya‘of Bhasa (Ditava.). Ed. Devadhar in BhNC Madhayamavyayoga of Bhasa (Madhyama.). Ed. Devadhar in BhNC. Malavikagnimitra of Kalidasa (Malavi.). Ed. 8. P. Pandit, ( Bombay Sanskrit Series ), Bombay, 1889. Mrechakatika (Mrech). Ed. K. P. Parab and W. L. 8, Pansikar, Bombay, 1926. Mudraraksasa of Visakhadatta (Mudra). Ed. Kasinath Trimbak Telang (Bombay Skt. Series), Bombay, 1928 Meghadita of Kalidasa (Megha). Ed. S. Vidyaratna, Calcutta, 1821, Saka. Natakalaksana-ratnakoéa of Sagaranandin (Natakalaksana, NL). M. Dillon, London, 1939. References are by lines unless otherwise mentioned.

Natyadarpana of Ramacandra and Gunacandra (ND.), Ed. in GOS.

Natyaéastra of Bharata (NS). Chapters I-XIV. Ed. J. Grosset, Paris, Lyons, 1898; Chapters I-XX. ed. R. Kavi, Baroda, 1926, 1936. Numbering of couplets in this work is often wrong. Tu case of chapters I-III this has been corrected, but in case of other chapters wrong numbers have been retained and in some cases where confusion may occur, pages have also been referred to. The edition of Sivadatta and Parab (Bombay, 1894), and the Chowkhamba edition (Benares, 1926) have also been used.

Paficaratra of Bhasa (Pafica). Ed. Devadhar in BhNC,

Paficatantra of VisnusSaraman, Chowkamba, Benares, 1980.

Paniniya-Sikga (PS.), Ed. Manomohan Ghosh, Caleutta, 1938.

Pratijziia-yaugandharayana of Bhasa (Pratij:ia.), Ed. Devadhar-in BhNC.

xIV

Pratimanataka of Bhasa (Pratima.) Ed. Devadhar in BhNC.

Balacarita of Bhasa (Bala-), Ed. Devadhar in BhNC.

Bhavaprakasana of Saradatanaya (BhP.) Ed, in GOS.

Bhasa-nataka-cakra (Plays ascribed to 00288), critically cdited by ©, R. Devadhar, Poona, 1937. References are to acts, verse passages and lines after them, eg. Svapna, I. 12, 23 indicates the twenty- third line afrer the twelfth verse in act I of Svapnavasavadatta

Vikramorvasiya of Kalidasa (Vikram.), Ed. 8, P. Pandit. (Bombay Sans. hrit Series), Bombay, 1898.

Venisamhara of Bhattanarayana (Veni.). Ed. K. 8. Parab and W. L.'s. Pansikar, Bombay, 1930.

Raghuvaméa of Kalidasa (Raghu.). Ed. K.P. Parab and W.L.S. Pansikar,

Bombay, 1932

Ratnavali of Sriharasa (Ratna), Ed. M. K. Jogelkar, Bombay 1925

Sakuntala of Kalidasa (Sak.) Ed. Isvara chandra Vidyasagar, Calcutta

Samgitaratnakara of Sarigadeva (SR.), Anandagrama edition

Sahityadarpana of Visvanatha Kaviraja (SD.) Ed. Jivananda’ Vidyasagar.

Svapnavasavadatta of Bhasa (Svapna.), Ed. Devadhar in BhNC.

Harsacarita of Banabhatta, Ed. P. ए, Kane, Bombay, 1912.

CONTENTS

PREFACE os se Vu LIST OF ABBREVIATIONS AND SYMBOLS ... 1X BIBLIOGRAPHY on ९१ XI INTRODUCTION ise see XXXVII

I. The Present Work, p. XX XVII; 1. General History of the Study, p. XXXVI ; 2. Basic Text, p. XL; 8. Translation, p. XLI; 4. Notes to the Translation, p. XLI.

। । [1 Il. The Ancient Indian Theory of Drama, p. XLII; 1. The Meaning of Natya, p. XLII; 2. The Dramatic Conventions, p. XLIV ; 3. The Time and Place of Drama, p. XLV ; 4. The Unity of Imperession, p- XLV; 5. Criticism of Drama, p. XLV; 6. The Four Aspects of Drama. p. XLVIII.

Il. Literary Structure of the Ancient Indian Drama, p. XLIX ; The Ten Types of Play. The Nataka, p. XLIX ; (a) Subject- matter and the division into Acts, p. XLIX ; (b) Explanatory Devices. p. LI; (i) Introductory Scene, p. LI ; (ii) The Intimating Speech, p. LI; (iii) The Supporting Scene, p. LI; (iv) The Transitional Scene, p. LI; (v) The Anticipatory Scene, p, LI; &) The Plot and its Develop- ment, 7, LI; The Prakarana, [ना ; The Samavakara, p. LII; The Thamrga, p. LIVI; The Dima, p. LIJIT; The Vyayoga, p. LIM; The Uterstikanka, p. LIJIT; The Prahasana, ए. LIT ; The Bhana, p. LIV: ; The Vithi, p. LIV. 2. Diction of Play, p. LIV ; (a) The Use of Metre, p. LIV; ¢) Euphony, p. LIV; (©) Suggestive or Significant Names, p. LV; (d) Variety of Languages Dialects, p. LV.

IV. The Ancient Indian Drama in Practice, p. LV ; 1. Oceca- sions for Dramatic Performance, p. LV; 2 The Time for Performance, p. LVI; 8. The Playhouse, p. LVII; 4, The Representation, p. LVIII. (a) The Physical Representation, p. LVIII ; (b) The Vocal Representation, p. LXI; (c) The Costumes and Make-up, ए, LXI ; (d) The Temperament, p. LXIJII.

V. Literature on the Ancient Indian Drama, p. LXIV ; 1.°The Early Writers : Silalin and Ky$aéva, p.LXIV ; 2. The Socalled Sons of Bharata (a) Kohala, (b) Daitila, (c) Satakarni (Satakarna, Salikarna), (व) Aémakutta and Nakhakutta, (e> Badarayana (Badari), p. LXIV ; 3, Sam-

xvi

grahakira, ए LXV ; 4. The Present Text of the Natyasastra, p. LXV ; 5. Medieval Writers on Drama, (a) Nandi (Nandikesvara), Tumburu, Visa- khila and Carayana, (b) Sadasiva, Padmabha, Drauhini, Vyasa, and 20} neya, (©) Katyayana, Rabula and Garga, (a) Sakaligarbha and Ghantaka, (®) Vartika-kara-Harsa, (f) Matrgupta, (g) Subandhu, (h) Compilers of the Agnipurana and the Visnudharmottara, pp. LXV-LXVII; (6) Late Literature on Drama, (a) Daéaritpa, (b) Natakalaksanaratnakosa, (©) Natyadarpana, (त) Ruyyaka’s Natakamimamsa, (€) Bhavaprakagana, (f) Sahityadarpana and Natakaparibhasa, pp. LXVII-LXX.

Q

VI. The Natyasastra: The Text and ite Commentaries, p, LXXI; 1. Its Author, p. LXXI; 2. The two Recensions, p. LXXI; 3, Unity of the Natyaéastra, p. LXXII; 4. Its Scope and Importance, p. LXXIV; 5. Its Style and Method of Treatment, p. LXXIV; 6. The Early Commentators: Acarya Kirtidhara, and Bhasyakara Nanyadeva (b) Bhatta Udbhata, (c) Bhatta Lollata, (व) Sri Saikuka, (e) Bhatta Nayaka, (f) Bhatta Yantra, p. LXXV; 7. Bhatta Abhinavagupta, p. LXXVI.

VII. Data of India’s Cultural History in the Natyasastra, p. LXXVIII ; ‘1. Language, p. LXVIII ; 2. Literature, p. LX XVIII ; 3, Art, p. LXXVIII; 4. Metrics, p. LXXIX; 5. Poetics, p. LXXIX ; 6. Costumes and Ornaments, p. LXXIX; 7. Mythology, 1 LXXIX ; 8 Geography, p» LXXX; 9. Ethnological Data, p. LXXX; 10. Ars Amatoria, 1, LXXX; 11. Arthaastra, p. LXXX; 12. Psychology, p. LXXXI,

VIII. The Date of the Natyasastra, p, LXXXII ; 1. The Geo- graphical Data, p. LXXXII ; 2. The Natyaéastra earlier than Kalidasa, pw LXXXII; 3. The Mythological Data, ए. LXXXIII; 4. The Ethno- logical Data, ए. LXXXIII; 5, The Epigraphical Data, p, LXXXII; 6. The NatyaSastra carlier than Bhasa, p. LXXXIV.

THE NATYASASTRA (Translation)

XVII

CHAPTER OnE THE ORIGIN OF DRAMA, Pages 1-17

1, Salutation, p.1; 2-5. Sages question, p.1; 6-23. Bharata answers, pp. 2-5 ; 24-25. The Natyaveda and Bharata’s one hundred sons, pp. 5-6; 26-40. Names of Bharata’s one hundred sons, pp. 6-7 ; 41- Per- formance begins with three Styles, p. 7 ; 42-45. Need of the Kaigiki Style, p. 7-8; 46-47. Creation of Apsarasas for practising the Kaisiki Style, p. 8 ; 47-50. Names of Apsarasas, p. 8 ; 50-53. Svati and Narada engaged to help Brahman; pp. 8-9; 53-58. The Banner Festival of Indra and the first production of a play, p. 9 ; 58-63. The pleased gods reward Bharata’s party, pp. 9-10; 64-66. Vighnas attack the actors, pp. 10-11 ; 67-68. Indra comes to their protection, p. 11 ; 69-75. The Origin of the Jarjara, p. 11; 75-81. The Origin of the first playhouse, pp. 11-12 ; 82-97. Differ- ent gods asked to protect different parts of the playhouse as well as the actors, pp. 12-13 ; 98-105. Brahman pacifies the Vighnas, pp. 13-14; 106- 121. Characteristics of a drama, pp. 14-16; 122-129. Offering Pija to the gods of the stage, pp. 16-17.

CHarPTtEeER Two DESCRIPTION OF THE PLAYHOUSE, Pages 18-32

1-8. Introduction, p. 18 ; 4-8. Three types of playhouse, pp. 18-19 ; 8-11. Three sizes of the playhouse, pp. 19 ; 12-16. The table of measure- ment, ए. 20; 17. The playhouse for mortals, p. 20 ; 18-23. Disadvan- tage of a too big playhouse, pp. 20-21 ; 24-26. Selection of a suitable site, p. 21 ; 27-28, Measurement of a site, pp. 21-22 ; 28-33. Taking up the string for measurement, p. 22 ; 83-35. The ground plan of the play- house, p. 22; 35-48. The ceremony of laying the foundation, pp. 23-24 ; 43-63. Raising pillars of the playhouse, pp. 24-26 ; 63-67. The Matta- varani, pp. 26-27 ; 68-74, The stage, pp. 27-28 ; 75-85. Decorative work in the stage, pp. 28-30; 86-100. Deseription of a square playhouse, pp. 30-32 ; 101-104. Description of a triangular playhouse, p. 32.

CHAPTER THREE 7712 TO THE GODS OF THE STAGE, Pages 33-44

1-10. Consecration of the playhouse, pp. 33-34; 11-16. Offering Paja to the Jarjara, pp. 34-35 ; 17-20. Installation of gods, ए. 35 ; 20-32. The Mandala for installing the gods, pp. 35-36 ; 33-39. Offering Paja to the gods, p. 37; 40-73. Consccration of the Mattavarani, pp. 37-40; 73-81. Consecration of the Jarjara, p. 41 ; 81-87. Homa or pouring ghée into sacrificial fire, pp. 41-42 ; 87-89. Breaking the jar, p. 42; 89-93. Tilumination of the stage, pp. 42-43 ; 93-97, Good results of consccrating

¢

xvii the stage, 1" 48 ; 98-101. Evils following non-consecration of the stage,

pp. 43-44, CHAPTER FouR

THE CLASS DANCE, Pages 45-75

1-14, Brahman writes the first play and gets it performed, pp. 45-46 ; 14-16. Two kinds of Preliminaries, pp. 46-47 ; 16-27. The Angaharas, 7. 47 ; 28-29. Uses of Angaharas, p. 47 ; 29-61. The Karanas, pp. 47-49; 62-169. Definition of 108 the Karanas, pp- 49-60 ; 170-245. Definition of the Aigaharas, pp. 60-65 ; 246-252. The Recakas, pp. 65-66; 253-264, The Pindibandhas, pp. 66-68 ; 265-272 The Sages speak on the use of dance, pp. 68-69 ; 273-274. The Vardhamanaka, p. 69 ; 2%. The Asarita, p. 69; 276. The Upohana, p. 69 ; 277-294. Entry of female dancers and the four kinds of Pindis, pp. 69-72 ; 295-308. The Chandakas, pp. 72-78 ; 309-310. The gentle dance, p. 73; 311-814. Occasions suited to dance, pp. 73-74 ; 315-820. Occasions when dances are prohibited ; p. 74 ; 321- 324, Playing of drums, pp. 74-75 ; 325-328, When drums are not to be played, p. 75

CHAPTER FIVE THE PRELIMINARIES OF A PLAY, Pages 76-99

1-4, The sages question, 76 ; p. 5-6. Bharata answers, p. 76; 7. Preli- minarics defined, p. 76; 8-16. Parts of the Preliminarics, pp. 76-77. 17. Pratyahara, and Avatarana, pp. 78; 18. Srambha, and Aéravana, pp. 78 ; 19. Vaktrapani, Parighattana, p. 78 ; 20. Samghotana, Margasarita, p. 79. Ql. Asarita and the Application of Songs, p. 79 ; 22-23. Utthapana, p 79; 23-24. The Walking-round, p. 79; 24-25. The Bencdiction, 79 ; 25-26. Suskavakrsta Dhruva, pp. 80 ; 26-27. Rahgadvara, p. 80 ; 27-28. The Cari and the Mahacari, 7. 80 ; 28-29. Three Men’s Talk, p. 89 ; 29-30. The Laudation, p. 80 ; 30-32. Origin of Bahirgita and its justification, pp. 80-81 ; 33-36. Daityas and Raksasas provoked to jealousy, p. 81 ; 37-38. The gods approach Narada to stop the Nirgita, p. 81; 38-44. Narada pacifies the gods, p. 82 ; 44-59. The gods are pleased with the Nirgita (Bahirgita), pp. 82-88; 60-64. Songs in pure Preliminaries, p. 84; 65-66. The first Walking-round, p. 84 ; 67-76. The second Walking-round, pp. 84-86 ; 77-84. The third Walking-round, pp. 86-87; 84-89. The fourth Walking-round, p. 87 ; 89-101. The Parivartani Dhruva, pp. 87-89 ; 101-104. The Fourth Man enters, p. 89 ; 104-107. Singing of the Avakrsta 1 ॥ es Examples of the Benediction, pp. 90-91 ; 113

ध uskavakysta Dhruva, p. 91; 116-119. Rafgadvara, Ae esa ao pp. 92-93 ; 127-137. Mahaeiri, pp. 93-94 ; 187- + The Threo Men’s Talk, p. 94; 141२142. The Laudation, pp. 94-95 ;

xIX

143-154. The Tryasra Preliminaries, pp. 95-96 ; 155-166. The Mixed Preliminaries, pp. 96-97 ; 167-179. Introduction of a play, pp. 97-99.

¢^ Six THE SENTIMENTS, pages 100-117

1-3. The sages question, p. 100 ; 4-8. Bharata answers, pp. 100-101 ; 8-14. Digest) Memorial Verse and Etymology defined, pp- 101 ; 15-16. The cight Sentiments, p. 102 ; 17-21. The Dominant States, p. 102; 22. The eight Temperamental States. pp. 102-103 ; 98. The four kinds of Histrio- nic Representation, p. 103 ; 24. The two Practices and the four Styles, p. 103 ; 25-26. The four Local Usages, and the Success, p.-104 ; 27-29. The notes, and the four kinds of musical instrument. p. 104 ; 29-31. he five kinds of Dhruva, pp. 104-105 ; 31-38. The Sentiments explained, pp. 105- 136 ; 33-38, The relation between the Sentiment and the States, p. 106-107 ; 38-43. The eight Sentiments from the four original ones, p. 107-108 ; 44-45. The presiding deities of the Sentiments, p. 108 ; 45-48. The Erotic Senti- ment, pp. 108-110 ; 48-55. The Comic Sentiment, pp.110-11]1 ; 56-57. Of persons of the middling type, p. 111 ; 58-61. Of persons of the inferior type pp. 111-112 ; 61-63. The Pathetic Sentiment, p. 112; 63-66. The Furious Sentiment, pp. 112-113 ; 66-68. The Heroic Sentiment, p. 114; 68-72. The Terrible Sentiment. pp. 114-115 ; 72-74. The Odious Sentiment, pp. 115 ; 74-76. The Marvellous Sentiment, p. 116 ; 77. The three kinds of the Erotic, the Comic and the Terrible Sentiments, p. 116 ; 78. The three kinds of the Pathetic Sentiment, p. 116 ; 79. The three kinds of the Heroie Sentiment, pp. 116-117, 80. The three kinds of the Terrible Senti- ment, 117. 81. The three kinds of the Odious Sentiment, p. 117 ; 82-83, The three kinds of the Marvellous Sentiment, p. 117.

CHapteR SEVEN THE EMOTIONAL AND OTHER STATES, Pages 118-147.

1-3. Bhavas (States) explained, p. 118; 3-4. Vebhavas (Determi- nants) explained, pp. 118-119; 4-6 Asubhavas (Consequents) explained, 7. 119 ; 6-7. The three kinds of State ; Dominant, Transitory and Tem- Peramantal, pp. 119-120 ; 7-8. Difference between the Dominant and the other States pp. 120-121 ; 8-9. Love, p. 121 ; 9-10. Laughter, ए. 121; 10- 14. Sorrow, p. 122 ; 14-20. Anger, pp. 122-123 ; 20-21. Energy, pp. 128- 124 ; 21-95, Fear, ए. 124; 25-26. Disgust, p. 125 ; 26-27. Astonishment p. 125 ; 27-29. The Transitory States, pp. 125-126 ; 27-30. Discourage- ment, p. 126; 30-32. Weakness, pp. 126-127; 32-35. Apprehension, pp. 127 ; 35-87, Envy, pp. 127-128 ; 37-46. Intoxication, pp. 128-129 ; 46-47. Weariness, p. 129 ; 47-48. Indolence, pp. 129-130; 48-49. Depression, 0. 130 ; 49-51, Anxiety, p. 130 ; 51-53." Distraction, pp. 180-131 ; 53-55.

xx

Recollection, p. 181 ; 55-57. Contentment, pp. 181-132 ; 57-59. Shame, p. 182 ; 59-60. Inconstaney, p. 182-133 ; 60-62. Joy, 7, 188 ; 62-65. Agita- tion, pp. 133-134 ; 65-66, Stupor, p. 134-135 ; 66-67. Arrogance, p. 185 ; 67-69. Despair, ए. 135-136 ; 69-70. Impatience, p. 136 ; 70-72. Bleeping, p. 186 ; 72-74. Epilepsy, ए, 187 ; 74-76. Dreaming, pp. 137-138; 76-77. Awakening, p. 188; 77-79. Indignation. p. 138; 79-80. Dissimulation, pp. 138-139 ; 80-81. Cruelty, p. 189 ; 81-82, Assurance, p. 139 ; 82-83. Sick- 1685, pp. 139-140; 83-85. Insanity, pp. 140-141 ; 85-90. Death, pp. 141- 142; 90-91. Fright, क. 142; 91-93. Deliberation, pp. 142-143 ; 93. Temperamental States, p. 143; 95. Perspiration, p. 144; 96. Parafysis and Trembling, ए. 144; 97. Weeping, p. 144; 98. Change of Colour and Horripilation, p. 144; 99. Change of Voice and I*ginting, p. 144 ; 100-106. Representation of the Temperamental States, pp. 144-145 ; 107- 124. Application of the States to the different Sentimtnts, pp. 145-147. CuHuaptTrerR Ercur THE GESTURES OF MINOR LIMBS, Pages 148-167

1-3, Sages question, p. 148; 4-6 Bharata answers, pp. 148-149 ; 7. The meaning of adhinaya, p. 149; 8-9. The four kinds of abArnaya, p. 149 ; 11-16, The Gesture : its three varieties, pp. 149-150 ; 17-37, Gestures of the head and their uses, pp. 150-152 ; 38-42, The thirtysix Glanees, pp 152-153 ; 43-51. The Glances to express the Sentiments, pp. 153-154 ; 52-60. The Glances to express the Dominant States, pp. 154-155 ; 61-84. The Glances to express the Transitory States, pp. 155-158 ; 85-95. Uses of Glances to express the Transitory States, pp. 158-159 ; 95-98, The eye- balls, pp. 159-160 ; 99-102. Uses of the eyeballs, p. 160 ; 103-107. The additional Glances, pp. 160-161; 108-111. The eyelids, p. 161 ; 112-115. Uses of the eyelids, p. 162 ; 116-120. The eyebrows, pp. 162-163. 121-125. Uses of the eyebrows, p. 163 ; 126-128, The nose, pp. 163-164 ; 129-132. Uses of the nose, p. 164 ; 182-134. The cheeks; p. 164; 135-137. Uses of the checks, pp. 164-165 ; 137-139. The lower lip, p. 165 ; 140-142. Uses of the lower lip, p. 165; 143-146. The chin, p. 166; 146-149. Uses of the chin, p. 166 ; 149-157. The mouth, pp. 166-167 ; 157-158. The colour of the face, p. 167 ; 159-165. Uses of the colour of the face, pp. 167-168 ; 166-167. The neck, p. 168 ; 167-173. Description and uses of the neck gestures, pp, 168-169.

CHAPTER NINE THE GESTURES OF HANDS, Pages 170-190 1-3. Bharata speaks, p. 170 ; 4-17, Sixtyseven gestures of the hand, pp. 170-171; 17-126. Gestures of single hands, pp. 171-181 ; 126-155. Gestures of combined hands, pp. 182-185 ; 156-159. Gencral rules regard- ing the use of hand gestures, p. 185 ;.160-165. Different movements of

xXxI

. hand gestures, p. 185 ; 166-167. Spheres of hand gestures, p. 186 ; 168-177. The quantity of gestures, pp. 186-187 ; 178-204. The Danee-hands, pp. 187- 189 ; 205-211. The four Karanas of the hands, pp. 189-190 ; 212-214. The movements of arms. p. 190,

CHAPTER TEN THE GESTURES OF OTHER LIMBS, Pages 191-196.

1-9. The breast, pp. 191 ; 10-15. The sides, p. 192 3; 16-17. Uses of the sides, p. 192 ; 18, The belly. p. 199 ; :9-20, Uses of the belly, pp. 192-193 ; 2124. The waist, p. 198 ; 25-26. Uses of the waist, pp. 198-194 : 27-31. The thigh, p. 194; 32-33 Uses of the thigh, p. 194; 34-37. The shank, pp. 1948195 ; 28-40. Uses of the shank, p. 165 ; 41-51. ‘The feet and their uscs, pp, 195-196 ; 52-54. The Caris, p. 196.

6 . CuHarpTeR Eneveyn

THE CAR] MOVEMENTS, Pages 197-206

1-3. Definitions, 7. 197 ; 4-6. Uses of the Carls, p. 197 ; 7-12. The thirtytwo Caris, pp. 197-198; 18-28 The carthly Caris, pp. 198-199 ; 29-49. ‘The aerial Caris, pp. 199-201 ; 50-71. The Sthanas, pp. 201-203 ; 71-88. The four Nyayas in using weapons, pp. 203-205; 8891. The Sausthava, p. 205 ; 91-92. The Caturasra, p. 205 ; 92-94. The four acts relating to the bow, p. 205 ; 94-96. The method of exercise, pp, 205-206 ; 96-100 Health and nourishment of persons taking exercise ; p. 206.

CHAPTER TWELVE THE MANDALA MOVEMENTS, Pages 207-212

1-5. The Mandalas, p. 207 ; 6-41. The acrial Mandalas, pp. 207-210 ;

42-68. The earthly Mandalas, pp. 210-212. प्र + एण THIRTEEN THE DIFFERENT GAITS, Pages 213-237

1, Gaits for different characters, p. 213 ; 2-3. Entrance of dramatis personae, p. 213 ; 4-7. Posture for superior and middling characters at the entrance, p. 213 ; 8-10. The interval of their fect, pp. 218-214 ; 10-11. The time for their steps, p. 214 ; 12-14. The tempo of their Gait, p. 214 ; 15-24. The natural Gait, pp 214-215 ; 25-29 Gait of kings, p, 216; 30-34. Gait under special conditions, p. 216; 35-40. Tempo of Gaits under special conditions, pp. 217; 41-48. Gait in the Erotic Sentiment, pp. 217-218 ; 48-54. Gait in the Terrible Scntiment, p. 218 ; 54-56. Guit in the Odious . Sentiment, p. 218 ; 57-58. Gait in the Heroic Sentiment, pp- 218-219 ; 59-60. Gait in the Marvellous and the Comic Sentiments, p. 219 ; 61-69. Gait in the Pathetic Sentiment, pp. 219-220 ; 70-75. Gait (of inferior characters) in the Terrible Sentiment, p. 220; 76-78, Gait of

; , ९1

merchants and ministers, p. 220 ; 79-86. Gait of ascetics and sectarians, pp. 220-221; 87. Gait of a person in darkness, p. 221; 88-92. Gait of one riding a chariot, pp. 221-222; 92-95. Gait while moving in the sky, p. 222; 96-100. Gait in ascending a lofty palace, p 222; 101-104. Gait in getting down into a lower place, pp. 222-228 ; 108-107. Gait in travelling by boat, ए. 228 ; 108. Gait in riding a horse, ए, 223 ; 109. Gait of serpents, ए. 223 ; 110, Gait of a Parasite, p. 224; 112- 114. Gait of the Kavicukiya, p. 224; 115-117. Gait of emaciated, sick and fatigued persons, p. 225; 118. Gait of a person walking a long distance, p. 225; 119-120. Gait of a corpulent person ए. 225; 121-122. Gait of intoxicated persons, p. 225; 123-180. Gait of a lunatid, p. 225 ; 131-136. Gait of lame men, cripples and dwarfs, p, 226 ;+137-146. Gait of the Jester, pp. 226-227; 146-148. Gait of manials, ए" 227 ; 148-149. Gait of Sakara, p. 228 ; 150. Gait of lowly persons,.p. 298; 151. Gait of the Mleccha tribes, p. 228 ; 152. Gait of birds ; 153-158. Gait of lions, bears and monkeys, pp. 228-229; 159-171. Walking postures of women, pp. 280-229; 171-177. Gait of women, p. 230; 177-179, Gait of young women, p. 231; 179-181. Gait of aged women, p. 231; 181-183. Gait of handmaids, p. 23] ; 183-186. Gait of half-women, p. 23! ; 186-187. Gait of children, p. 242 ; 187-181. Gait of hermaphrodite, p. 232; 188-189, Gait in the change of a role, p. 232 ; 189-19]. Gait of persons in disguise, p. 232 ; 192-193. Gait of the tribal women, P. 232; 193-195. Gait of women ascetics ; PP. 232-233 ; 195-199. Sitting postures for men and women, ए. 233; 196-197. Sitting at case, P. 233; 197-198. Sitting ina thinking mood, p. 233 ; 198-199. Sitting in sorrow, p. 233; 199-200. Sitting in fainting and intoxication, p. 233 ; 200-201. Sitting in shame and sleep, ` 0. 284 ; 201-202, Sitting on ceremonial occasions, p. 234 ; 202-203, Sitting in pacifying a beloved woman, p. 234 ; 203-206. Sitting in worshipping a diety, p. 234; 206-207. Seats for different characters, 7 234; 208-210. Scats for male characters, p. 235 ; 210-214. Seats for female characters, p. 235 ; 215-216. Seats for ascctics and sectarians, p. 285 ; 217-220. General rules about seats, p. 236 ; 221-228, Lying-down postures, pp. 236-237,

CHAPTER FourRTEEN THE ZONES AND THE LOCAL USAGES, Pages 238-247

1. The Zones, p. 238; 2. The arrangement of drums, p. 238; 3. The Zonal division, p. 238; 4-7. Utility of the Zonal division, p. 238 ; 8-10, Indicating relative location on the stage, p. 239; Ll. The east on the stage, 7, 239 ; 12-15. The rule of exit, p. 282; 16, Indication of raok in group walking, ए. 289 ; 17. Indicating distance great, small and medium, p. 240 ; 18-20. Movements of gods and demigods 7, 240; 21, Movement of men in Bharatavarya, 0, 240; 22. Departure for a distant place,

xx

7, 240 ; 28-82, Time allowed for the events of an Act, pp. 240-24]; 32-38. Movements of gods, 7, 241; 36. The four Local Usages, pp. 941-242; 37-39. The एरक Local Usages, pp 242-243; 40-42. The Avanti Local Usage, p. 243; 43-46, The Odra-Magadhi Loeal Usage, 243 ; 47-49. The Paiiedla-Madhyama Local Usage, 1, 2443 50-56, The two-fold entrance in observing Local Usage, 7, 244; 50. The two General types of plays, p. 245. 57-60. The violent type, p. 246 ; 61. The delicate type, p. 245 ; 62. The two Practices, p. 245; 63-64. The realistic Practice, pp. 245-246 ; 65-78, The conventional Practice, pp. 246-247.

CHAPTER FIFTEEN ए RULES OF PROSODY, Pages 248-261

1. The actor’s speech, ए. 248; 2-4, Importance of speech in drama, p. 248; 5. The two kinds of recitation, p. 248; 6-7. Different aspects of Recitation, ए, 249; 8. The speech-sounds, p- 249 ; 9-19, Consonants ; their articulation, pp. 249-25] ; 20. Vowels; their quantity, p. 251; 21-22 The four kinds of word, p: 252 ; 23-25. The noun, pp. 252-953; 26-27. The verb, p. 253; 28. The particle, p. 254, 29, The affixes, 7, 254; 30. The nominal affix, p. 254; 31. The case-ending, p. 255 ; 32-33. The euphonic combination, p. 255; 34-35. The compound words, pp. 255-256; 36. The two kinds of word, p. 256 ; 37. Words in prose, p. 256 ; 38. Words in verse, 7, 256; 39. Syllabic metres, p. 256; 40-42. Rhythm-types, pp. 256-257 ; 43-49, Twenty-six Rhythm-types, p. 257; 49-79. Possible metrical patterns, pp. 257-258 ; 79-89, Another method of defining metres, pp. 258-259 ; 89-90. The regular couplet, p. 259; 90-91. The stop and the foot, pp. 259-260 ; 93, Quality of syllables, colours of metres, p. 260 ; 94-95. Pitch of vowels, p. 260; 95-97, Three kinds of syllabic metres, 1, 260 ; 98-102. Classes of metres, p. 261.

CHAPTER SIXTEEN METRICAL PATTERNS, Pages 262-292

1-2. Tanumadhya, p. 262; 3-4 Makaraka-Sirsa, p. 262; 5-6. Malati, p. 263 ; 7-8, Malini, p. 263 ; 9-10. Uddhata, pp. 263-264; 11-12. Bhrama- ramalika, p. 264; 13-14. Simhalekha, p. 264 ; 15-16. Mattacestita, pp. 264- 265 ; 17-18, Vidyullekha, p. 265 ; 19-20. Cittavilasita, pp. 265-266 ; 21-22. Madhukari, p. 266; 23-24. Kuvalayamala, p. 266; 25-26. Maytrasarini, pp. 266-267 , 27-28, Dodhaka, p. 267 ; 29-30. Motaka, pp. 267-268 ; 31-32. Indravajra, p. 268; 33-34. Upendravajra, pp. 268-269 3 35-36. Rathod- dhata, p. 269; 37-38 Svyagata, pp. 269; 39-40. Salini, p. 270; 41-42. Totaka, p. 270; 43-44 Kumudanibha, pp. 270-271 ; 45-46. Candralekha, p. 271; 47-48, Pramitaksara, pp. 371-2723 49-50. Vamfastha, p. 272. 51-52. Harinapluta, pp. 272-273; 53-54. Kamadatta, p. 278 ; 55-56. Aprameya, p, 273-274; 57-58, Padmini, p. 275; 59-60. Patuvrtta,

XXIV -

pp. 274-275 ; 61-62. Prabhavati ; p. 275 ; 68-64, Praharsini, pp. 275-276 ; 65-66, Mattamayara, p. 276; 67-68, Vasantatilaka, pp. 276-277 ; 69-70. Aeambadha, p. 277; 71-72. Sarabha, pp. 277-278; 73-74. Nandimukhi, ` ए. 278; 75-74, Gajavilasite pp. 278-279 ; 77-78 Pravaralalita, p. 279 79-80. Sikharini, pp. 279-280; 81-82. Vrsabhacestita, 7, 280; 83-84. Sridhara, pp. 280-281 ; 85-86 VamSapatrapatita, p. 281 ; 87-88. Vilam- bitagati, pp. 281-282 ; 89-90, Citralekha, p. 282; 91-93. Sardtlavikridita, p. 283 ; 94-96, Suvadana, pp, 283-284 ; 97-99. Sragdhara, p. 284; 100-102, Madraka, pp. 284-285 ; 103-105, Aévalalita, p. 286; 106-108, Meghamala, p. 286; 109-111. Krauicapadi, pp. 286-287; 112-114, Bhujanga-vijrm- bhita, pp. 287-288 ; 115-118. The uneven and the semi-even metres; p, 288 119-120, Even metres, p. 288 ; 121-122. Pathya, p. 288 ; 123-124. Uneven Pathya, 7. 289; 125-126. Inverted Pathya, p. 290; 127-128. Capala, p. 290; 129-136. Vipula, pp. 290-292; 137-138. Vanavasika. p. 292; 139-140. Ketumati, p.292 1 141-142, Aparavaktra, p. 93; 143-144. Pugpi- tagra, 293 : 145-146. Udgata, pp. 293-294; 147-151. Lalita, pp. 294-295 152-159. Arya metres, pp. 295-296 ; 160. Pathya Arya and ए णह Arya, p. 296 ; 161, Pathya Arya, 7. 296; 162, Vipula Arya, p. 296; 163-164 Capala Arya, pp. 296-297 ; 165. Mukha-capala and Jaghana-capala Arya, ए. 297; 166, Mukha-capala Arya, p. 297; 167-170. Jaghana-capala Arya, p. 298.

CHAPTER SEVENTEEN DICTION OF A PLAY, Pages 299-322.

1-5. Thirtysix marks of a good play, pp. 299-300; 6. Ornateness, p. 30; 7, Compactness, p. 300; 8. Brilliance, p. 301 ; 9. Parallelism, p. 301; 10. Causation, p, 391; 11. Hesitation, p. 301; 12. Favourable Precedent, p. 301; 13. Diseovefy, p. 302; 14. Fancy, p. 302; 15. Unfavourable Preeedent, p. 392; 16. Convineing Explanation, p. 302; 17. Persuation, p. 303; 18. Distinction, p. 393; 19. Accusation of Virtues, p. 393; 2), Excell nex, p. 393; 21, Inference from Similitude, pp. 303- 204 ; 22. Multiplex Predication, p. 304; 23. Doseription, p. 304; 24. Pointed Utterance, p. 304; 25. Deliberation, p 304; 26. Inversion, १. 305, 27. Slip of Tongue, p. 305; 28. Mediation, p. 305; 29, Series of Offers, p. 395; 39. Clever Manners, p, 306; 31. Censure, p. 306; 32. Presumption, p. 306; 33. Celebrity, p. 306; 34. Interrogation; 35. Identity, 7. 397; 36. Indirect Expression of Desire, p. 307; ॐ. Wit, p. 307; 38. Concealment, p. 307; 39. Enumeration of Merits, p. 308; 49. Semi-uttered Expression, p. 398; 41-42. Compliment, p.°308; 83. Four figures of Spsech, p. 398; 44. Simile, p. 309; 45-49. Number of objects compared, p. 39; 59. Five kinds of simile, p. 309 ; 51. Simile of praise, p, 309 ; 52. Simils of censure, p. 309; 53. Simile of conceit, p 309; 24. Simile of uniqueness, p. 310; 55-56. Simile of

XXV

Partial likeness, p. 310; 57-58. Condensed Expression, p. 310; 59-60. Metaphor, Pp. 310; 61. Yamaka, p. 311; 62-64. Ten kinds of Yamaka, p. 311 ; 65-66. Padant,a Yamaka, p. 311 ; 67-68, Kafici Yamaka, pp. 311-312 ; 69-70. Samudga Yamaka, 7, 312; 71-72, Vikranta Yamaka, 7. 312; 73-74. Cakravala Yamaka, p 313; 75-76. Sandasta Yamaka, p. 313; 77-78. Padadi Yamaka, pp. 313-314; 79-89. Amredita Yamaka, p. 314; 81-82. Caturvyavasita Yamaka, ए. 314; 83-87. Mala Yamaka, pp. 314-315 ; 88, Ten faults, pp. 315-316; 89. Cireulocution and super- fluous Expression, 2. 316; 90-91. Want of Significance and Defective Significance, p. 316 ; 92. Tautology and Want of Synthesis, pp. 316-317 ; 93. Logical Defect and Metrical Defect, ए. 317; 94. Hiatus and Slang, p. 317; 95. Gynas, 0. 817 ; 96. Ten Gunas, pp. 317-318; 97. Synthesis, p. 318; 98. Pergpicuity, ए. 318; 99. Smoothness, p. 318; 100. Concentra- tion, p. 818 ; ` 11. Sweetness, p. 319; 102. Grandeur, p. 319; 103 Agrec- ableness, p. 319 ; 104. Dircetness of Expression, p, 319; 105-106, Exalted- ness, pp. 319-320; 107. Alamkaras and Gunas, 0. 320; 108-110. Sounds and figures of speech according to Sentiments, Metres according to Senti- ments, In the Erotic Sentiment, p. 32); 111-112. Metres in the Heroie Sentiment, and in the Pathetic Sentiment, p. 321; 113. In the Heroie and the Furious Sentiments, p. 321; 114-:15. Vowel length in different Sentiments and States, p. 321; 116-122. Uses of prolated vowels and euphony, pp. 331-322, CHAPTER EIGHTEEN

RULES ON THE USE OF LANGUAGES, Pages 323-334

1-2, The Prakritic Recitation, p. 323 , 3-5. Three kinds of Prakritic Recitation, p. 323; 6-17. Vowels and simple consonants, pp. 324-325 ; 18-25. Conjunct Consonants, pp. 325-326; 26. Four types of language, p- 226 ; 27. The Superhuman and the Noble languages, p. 327 ; 30. The two kinds of Recitation, p. 327; 31. Occasion for Skt. Recitation, p. 328 ; 32-35, Occasion for Pkt Recitation, pp. 329-329; 36-46, Exception to the rule for Pkt. recitation, pp. 329-331; 47-48 Seven major dialects, p. 331; 49-51. Uses of major dialects, pp. 331-332; 52-55. Uses of minor dialects, pp. 332-333; 56-61, Distinguishing features of various local dialects, pp. 388-834.

CuHaptTER NINETEEN

MODES OF ADDRESS AND INTONATION, Pages 335-354

1-2, Different modes of address, p. 385; 3. Modes of addressing males, p.335; 4. Addressing gods, sectarian teachers and learned men, p- 835; 5. Addressing Brahmins, the king, the teacher and an old man, p. 336 ; 6. Brahmins addressing the king, p. 386 ; 7. Brahmins address- ing ministers, p, 336; 8, Addressing the equals, Proviledged _inferiors

D .

_ XXVI

addressing superiors, pp. 336-887; 9. Addréssing employces, artisans and artists, 1, 337; 10. Addressing persons, of respect, ‘addressing per- ons of equal status p. 337; 11. The charioteer addressing the chariot-rider, Addressing an ascetic or a person witli beatitude, pp. 337-338; 12. Addressing princes, Addressing inferior persons, p. 388; 18. Addressing persons by their occupation or birth, p. 339; 14. Addressing a son or a disciple p. 839; 15. Addressing Buddhist and Jain monks, Addressing persons of other sects, p. 339; 16. People addressing the king, pp. 339- 340 ; 17-18. Sages addressing the king, The Jester addressing the king, The Jester addressing the queen, her maids, and the king addressing the Jester, p. 340 ; 19, Women addressing their husband, p. 341 ; 20. Addressing the elder and the younger brothers, p 341; 21. Modes of addressing women and female 9866068 and goddesses, p. 341; 22, Addressing wives of senior persons, and elderly ladies, Addressing an accessible woman and an old lady, pp. 341-342 ; 23-24. Addressing king’s wives, p. 342; 25. Address- ing unmarried princesses and a sister, pp 342-343; 26. Addressing a Brahmin lady, a nun or a female ascetic, addressing one’s wife, p. 843 ; 27. Women addressing their equals, addressing 2 hand-mand, p. 348; 28. Addressing a courtezan, p. 349 ; 29. Addressing the wife in love-making, p- 344; 30. Giving names to ditferent characters ina play, p. 3443 31, Names of Brahmins and Ksatriyas, p. 344 ; 32. Naming merchants and warriors, p. 344; 33. Naming king’s wives and courtezans, p. 345; 34. Naming handmaids and menials, p. 345; 45, Naming superiors, p. 345 ; 37-37a, Naming other persons, p. 3453; 37-38. Qualities of Recitation, p. 346 ; 38-40. Seven notes to suit different Sentiments, p. 346 ; 40-43. Uses of the three voice registers, p. 346; 43. Uses of the four accents; p. 347; 43-44, Two ways of intonation, p: 347; 45. The Six Alam- karas, p. 348; 4557. Uses of the six Alamkaras, pp. 348-350; 58-59, Intonation in different Sentiments, Six limbs of enunciation, pp. 350-351 ; 59-60. Pause defined, pp. 351-352; 60-61. Uses of Pause, p. 352 ; 62-67, Hands in connexion with Alamkaras and Pause, p. 352; 68-78. Drawn- out syllables ahd their use, pp. 353-354, CHAPTER TWENTY TEN KINDS OF PLAY, Pages 355-379

1-9 Tenfold division of plays and their structure, p. 355; 10-12. The Nataka, p. 356 ; 13-18% The Act, pp. 356-3575 19-26. Incidents not direetly presentable in an Act, pp. 358-359 ; 27-35. The Introductory Scene, pp. 359-360 ; 36-38. The Supporting Scene, pp. 360-361; 39-40. Number of dramatis personae, p. 361; 41-42. Introducing chariots and palaces on the stage, pp. 361-362; 43-47. Introducing an army on the stage p- 362; 4850. The Prakarana, pp. 262-364; 59-63. The Natika, pp. _ 364-365 ; 6466, The Samavakara, pp. 365-366; 67, The first act of the

ष्णां

Samavakara, p. 366; 68-69. The second aed the third acts of the Sama- पशा", pp. 366-367 ; 70. The three kinds of Excitement, p. 367; 71. Three kinds of Deception, p. 367 ; 72. Three kinds of Love, p. 367 ; 73. Love together with duty, pp. 867 ; 74. Love together with material gain, p. 368 ; 75. Love duc to passion, p. 368; 76-77. Metres not allowed in the Samavakara, p. 368; 78-83. ‘The Thamrga, pp. 368-369 ; 84-89. The Dima, p. 370; 90-98. The Vyayoga, p. 370; 94-96, The Utersti- kanka, p. 371 3 97-101. Scenes with celestial Heroes, pp-372. 371 ; 109. The Prahasana, p, 372; 103-104. The pure Prahasana, p. 372; 105-107. The mixed Prahasana, pp. 372-378; 107-111. The Bhana, p. 373; 112-113, The Vithi, pp. 373-374; 114-116. Thirteen types of the Vithi, p. 374 ; 117, Accidenta] Interpretation, p. 274; 118, Transference, p. 874 ; 119, Ominous Significance, p. 374; {20-121. Incoherent Chatter, p. 375; 122. Compliment, p.°375 ; 123. Enigma and Rapartee, p. 375 ; 124. Outvy- ing, p. 375; 125. Deception, 375; 126. Declaration, p. 376; 127. Crushing, p. 376; 128. Three Men’s Talk, p. 376; 129-181. Undue Combination of Words, p. 376 ; 132-133, ‘The Lasya, p. 377 ; 134-135. The twelve types of the Lasya, p. 377; 136-187. Geyapada, p. 377; 188, Sthitapathya p, 878; 139, Asina, p. 378; 140. Puspagandika, p. 378 ; 141. Pracchedaka, p.378; 142 Trimidhaka, p. 378 ; 143. Saindhavaka, p. 378; 144. Dvimiidhaka, p. 379; 145. Uttamottaka, 7. 379; 146. Vicitra pada, p. 379 ; 147. Uktapratyukta, ए, 379, 148-150. Bhavita, p. 379.

CHAPTER TWENTYONE THE LIMBS OF THE JUNCTURES, Pages 380-400

1, The five Junctures of the Plot, p. 380; 2. The two kinds of Plot ; 308; 3-5. heir definition, p. 380; 6-8. The five stages of the action ; pp. 380-381; 9. Beginning, p. 381 ; 10. Effort, p. 381 ; 11. Possibility of Attainment, p, 381; 12. Certainty of Attainment, p. 381 ; 13-15, Attainment of Results, pp. 381-382; 16-17. Play to begin with the Principal Plot, p. 382; 18-19. Rules about the omission of Junctures, p. 382 ; 20-21. The five clements of the Plot, p. 382; 22. The Germ, p. 388; 23. ‘The Prominent -Point, p. 388 ; 24. The Episode, p. 383 ; 25. The Episodical Incident, p- 383 ; 26-27. The Dénoucment, p. 383 ; 28. Secondary Junctures inthe Episode, ए. 384 ; 29. Limit of the Epi- sode, p. 384; 30. The Episode Indication, p. 384 ; 31. ‘The क Episode Indication, p. 384 ; 32. The Second Episode Indication, p. 384 ; 33. The Third Episode Indication, p, 384 ; 34-35. The Fourth Episode Indication. p. 385 ; 36-37, The five Junctures, ए, 385; 38. The Opening, p. 385 ; 39. The Progression, p. 385; 40. The Development, p. 389 ; 41. The Pause, pp. 385-386 ; 42-43. ‘The Conclusion, ए. 386; 44-47, Junotures vary in different types of Drama, p. 386; 48-50. Subjuncture, p. 387 5 51. Alternative Junctures, p. 387; 52-58. ‘Ihe sixfold needs of the Limbs

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of the Junctures, p. 387; 54-57. Uses of the Limbs of the Junctures, ए. 387-888 ; 58-68. The sixtyfour limbs of the Junetures, pp. 388-389 ; 69. Limbs of the Opening, Suggestion, p. 389 ; 70. Enlargement, Establish- ment, p. 389; 71. Allurement, Decision, pp. 389-390; 72. Accession, Settling, p. 390; 78. Conflict of Feelings, Surprise, ?, 390; 74. Dis- closure, Activity, ए. 390; 75. Incitement, Limbs of the Progression, p. 399 ; 76, Amorousness, Pursuit, p. 391; 77. Refusal, Pessimism, p. 391 ; 78. Joke, Flash of Joke, ए. 391; 79. Moving Forward, Hindranee, p. 391 ; 80. Pacification, Sweet Words, pp. 391-392; 81. Thunderbolt, Reference, p 892; 8. Meeting of Castes, Limbs of the Development, p. 392; 88. Mis-statement, Indication, p, 392; 84. Supposition, Exaggeration p. 392 ; 85. Progress, Propitiation, p. 393 ; 86. Deduction,’ Supplication, p. 393; 87. Revelation, Quarrel, p. 393 ; 88, Outwitting, Dismay, p. 393 ; 89, Panicky Commotion, Limbs of the Pause, p. 393 ; 90. Censure, Angry Words, p. 894; 91. Insolence, Placation. p. 394; 92. Assertion, Rever ence, p.394; 93. Rebuke, Lassitude p. 394; 94. Opposition, Alter- cation, p. 894; 95. Summing Up, Humiliation, p. 99 ; 965. Foresight, Limbs in the Conclusion, p. 395; 97. Junction, Awakening, p. 395 ; 98, Assembling, Ascertainment, p. 395; 99. Accusation, Confirmation. pp. 895-396; 100. Gratification, Joy, p. 396 ; 101. Deliverence, Surprise, 1. 896; 102. Clever Speech, Retrospect, p. 396; 103-105. Termination, Benediction, pp. 396-397; 106. Five Explanatory Devices, p. 397; 107- 108. The Supporting Scene, p. 397; 109. The Intimating Speech, p. 897 ; 110-111. The Introductory Scene, p. 398; 112. The Transitional Scene, p. 398; 113. The Anticipatory Scene, p. 398; 114-130. An ideal Nataka, pp. 398-400.

CHAPTER TWENTYTWO

THE STYLES, Pages 401-409

1-5. The origin of the Styles, p. 401 ; 6-11. The origin of the Verbal Style, pp. 401-402.; 12. The origin of the Grand Style, p. 402 ; 13. The origin of the Graceful Style, p. 402 ; 14-16. The origin of the Energetic Style, p. 402; 17-25. The origin of the Nyfya, pp. 408-404 ; 26. The four varieties of the Verbal Style, p 404 ; 27. The Laudation, p. 404 ; 28-29. The Introduction, p. 404 ; 30-31. The five varieties of the Introduction, p. 404 ; 32. Opening of the Story, p. 404; 33. Particular Presentation, p. 405.; 34-87. Personal Business, p. 405 ; 38-40. The Grand Style, pp. 405-406 ; 41, The four varieties of the Grand Style, pp.

` 406 ; 42. The Challenge, p. 406 ; 48 Change of Action, p- 406 ; 44 The Harsh Discourse, p. 806 ; 45-46. Breach of Alliance, p. 406 ; 47. The Graceful Style, p. 407 ; 48. The four varieties of the Graceful Style, p. 407 ; 49-50. The three-kinds of Pleasantry, p.497; 51, Beginning of Pleasantry, p. 407 ; 52. Unfoldment of Pleasantry, p. 407 ; 58°54, Covert

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Pleasure, p. 408 ; 55-56. The Energetic Style, p. 408 ; 57. The four varieties of the Energetic Style, ए. 408 ; 58. Compression, pp. 408-409 ; 49, Commotion, p. 409 ; 60. Raising the Theme, p, 409 ; 61-62. Conflict p. 409 ; 63-65, Styles according to Sentiments, p. 409 ; CHAPTER TWENTYTHREE THE COSTUMES AND MAKE-UP, Pages 410-439

1-3. Necessity of the Costumes and Make-up, 410; 4. Four kinds of Costumes and Make-up, p. 410. 5-8 The four kinds of model-work, pp.©410-411 ; 9, Decoration, p. 411; 10, Garlands, p. 411; 11. Four kinds of ornament, p. 411 ; 12. Piercing ornaments, Tied-up ornaments, p. 411 ; 18. Worn ornaments, Put-round ornaments, p. 412; 14. Ornaments according habitation and tribal origin, p. 412 ; 15. Ornaments for males: Head ornaments, Har ornaments, p. 412; 16. Neck ornaments, Finger ornaments, pp- 412-413 ; 17. Ornaments of the forearm, Wrist ornaments, 7. 418 ; 18, Ornaments above the elbow, Breast ornaments, p 148 ; 19. Ornaments for the entire body, Waist ornaments, p. 418 ; 23-23. Ornaments for females: Head ornaments, p. 419 ; 23-25. Tar ornaments, pp. 414-415 ; 26-27. Neck ornaments. p. 415; 28. Breast ornaments, 7, 415 ; 29. Arm ornaments p. 416 ; 30. Finger ornaments, p. 416 ; 31-83. Hip ornaments, pp. 416-417 ; 34-36. Ornaments of the ankles, p. 417; 37-44, Other rules about ornaments, pp. 417-418; 45-51. Costume of cclestial women p. 418-419 ; 52. Siddha women.p. 419; 53. Gandharva women p. 419; 54, Raksasa women, p. 419; 55. Goddesses, p. 419 ; 56-57. Monkey females, pp. 419-420 ; 58. Human females according to their countries, p. 420 ; 59. Women of Avanti and Gauda, p. 420; 60 Abhira women, p- 420 ; 61, Women of the North-east, p. 420 ; 62-68. Women of the South, p. 420; 64. Ornaments to be worn in the right place, pp. 420-421; 65-67. Dresses to suit the condition of females, p. 420 ; 68. Painting the limbs, p. 421 ; 69. The four original colours, ए. 421 ; 70. The derivative colours, p. 421 ; 71-74. The primary derivative colours, pp. 421-422 ; 75-80. The secon- dary derivative colours, p. 422; 81. Living beings, p. 422; 82. Lifeless objects, p. 422; 83. Lifeless objects in human form, p. 422 ; 84. Painting the limbs, p. 422 ; 85-87. Colour for gods, p. 423 ; 88-89. Colours for demigods, 90-92. Colours for human beings in different regions, p. 424 ; 93. Colours for Bhfitas and Dwarfs, p. 424; 94-98. Colours of different peoples of Bharatvarsa, p. 424 ; 99-101. Colours of different tribes, ए. 425 ; 109. Colours of different castes, p. 426 ; 108-109. Rules for the beard, p. 426-427; 110-127. Rules for different costumes, pp. 427-429 ; 128. Use of masks, p. 429; 129-189. Three kinds of crown, pp- 430-431"; 139-145. Rules of different hairs, p. 481 ; 146-148. The Sa jiva, p. 482 ; 148-155. The use of weapons, pp. 482-433; 156-158, Use of ‘other objects, p. 433 ; 159. Indra’s Banner-staff, p. 438 ; 160-167. The Jarjara, pp. 438-434 ; *167- 170.

xxx

The Dandakiastha,-p. 434; 170-180. The making of masks, pp. 485-436 ; 180-187, Other acessories, 7, 436 ; 187-198. The realistic and conven- tional objects, p. 437; 198-208, Making of ornaments, pp. 438-489 5 208-211. Use of weapons on the stage, p. 439, CHAPTER TWENTYFOUR THE BASIC REPRESENTATION, Pages 440-482 1-2. Importance of Temperament p. 440 ; 8 The definition of Temperament, p. 440 ; 4-5. Feminine graces in the drama, pp. 440-441 ; 6. Physical graces of women, p. 441; 7. The origin of these graced, p. 441; 8. Feeling, p. 441 ; 9-10. Emotion, p.441; 11. Passion, p. 441 ; 12-13, Natural Graces of women, p. 442 ; 14. Sportive Mimicry, p. 442 ; 15. Amorous Gestures, p. 442; 16, Dishabille, p. 442; 17. Confusion, p. 442 ; 18. Hysterical Mood, p. 443 ; 19. Manifestation 6f Affection, ए. 443 ; 20. Pretended Anger, p. 443; 21, Affected Coldness, p. 448 ; 22 Lolling, p, 443. 28. Want of Response, p. 443; 24. Involuntary Graces of women, p. 444; 25. Beauty, p. 444; 26 Charm, Radiance, 1, 444 ; 27. Delicacy p. 444; 28. Self-control, p. 444; 29-30 Courage, Dignity, p. 444-445 ; 31. Hight aspects of the male ‘l'emperament, p. 445 ; 32. Brifli- ant Character, p. 445 ; 33. Graceful Bearing, p. 445; 84, Self-posse- ssion, p. 445 ; 35. Tenacity, pp. 445-446 ; 36. Gravity, p. 446; 87. Spor- tiveness, p. 446 ; 38. Nobility. p. 446; 39. Spirit, p. 446; 40-41. Hist- rionie Representation through the body, p. 446; 42. Word, p. 447 ; 43, Sted, p. 147 ; 44. Atikura, p. 447; 45. Sakhi, p.447; 46-47. Natyiyita, p. 4475 48. Niveltyatkara, p. 448; 49-31. Twelve forms of the verbal Rorpesentation, p 448; 52. Accosting, Prattling, p. 448; 53. Lament, Repeated Speaking. ], 448 ; 54. Dialogue, Change of Words, pp. 448-449 ; 55. Message, Agreement, p. 449; 56. Command, Pretext, p. 449 ; 57. Instruction, Statement, p. 449 ; 58-71, Another classification of the Verbal Representation, pp. 449-451; 72-73. The basic Representation, p. 451 5 74-75. Regular Historionie Representation, p. 451; 76-77, Irregular Historionie Representation, p. 451; 78. Laksana defined, p. 452; 79. Practice preferred to ‘he Sastra, p. 452; 80. Representation of the sensual perception, p. 452; 81. Sound, p. 452; 82, Touch, p, 452; 83. Form, ए, 452; 84-85. ‘Taste and Smell, pp. 459-453 ; 86. Importance of the mind, p. 453; 87. The three aspects of the of the mind p. 453; 88-89. The favourable mind, p. 353; 90. The unfavourable amin, 7. ¢ 1 91-92. ‘he indifferent mind, p. 453; 98. The meaning of Personal » aud the meaning of “external”, Dp. 453-454 ; 94-95. 1 a 454 ; 95-96, Love, p, 454; 97-98. Erotic Affair, p. 454; divine typ pp. BASS; TOTO The ve त Toman. of 105-106. The womar of 6४०) on 1 arva type, p 455 ; 107-108, ‘The woman of

‘RXXI

Rakgasa type, p. 455; 109-110. The woman of Naga type, p. 455; 111- ` 119, The woman of bird type, p. 456 ; 113-114. The woman of Pisses type, p. 456; 115-116, The woman of Yakga type, p. 456; 117. The woman of tiger type, ए" 456; 118-119, The human female, pp. 486-457 190-121. The woman of monkey type, p. 459; 122-123. The woman of elephant type, p. 457 ; 124-125. The woman of deer type, p. 457; 196. The woman of fish type, p. 457 ; 127-128. The woman of camel type, p. 457; 129. The woman of Makara typo, p. 458; 130-131. The woman of ass type, ए. 458; 132-133. The woman of swine type, p. 488; 134-135, Theewoman of horse tvpe, p. 456 ; 136-137. The woman of buffalo type, p. 458; 188-139. The woman of goat type, p. 458-459; 140-141. The woman of horse éype, p- 459 ; 142-143. The woman cow type, p. 459; 144- 147. Etiquette towards women, pp. 459 ; 147-149. Two classess of Eti- quette, p. 460, 149-150. King's Etiquette towards women, p. 460 ; 150-155. The three classes of women; pp. 460-461 ; 156-159. The beginning of love, p. 461; 160-162, Signs of love, p. 462; 163-165. Signs of a courte zan’s love, p. 462 ; 166-167. Signs of love in a highborn lady, p. 462 ; 168. Signs of a maiden's love, ए. 462 ; 169-171. Various stages of her love, 172-173. Longing, pp. 462-463, 174-175, Anxiety, p. 463; 176-177. Re- collection, p. 463 ; 178-179. Enumeration of Morits, pp. 463-464 ; 180- 181. Distress, p. 464 ; 182-183. Lamentation, p. 464 ; 184-185. Insanity, p. 464; 186-187. Sickness, pp. 464-465 ; 188-189. Stupor, p. 465; 190- 191. Death, p. 465; 192. Manifcstation of men’s love, p. 465; 193. Characteristics of love, p. 465; 194-196. Women seperated from the beloved one, pp. 465-466; 197. Relief in lovesickness, p. 466 ; 198-200. The female Messenger, p. 466 ; 201-207. The king’s Etiquette to women, pp. 466-467 ; 208-209. Reasons for Conjugal Union, p. 467; 210-211. Eight kinds of Heroine, p. 267; 212. The Heroine dresscd up for Union, p. 268 ; 214. The Heroine having her husband in gubjec- tion, p. 268; 215. The Heroine seperated by quarrel, p. 268; 216, The enraged Heroine, p. 268; 217. The deecived Heroine, p. 268; 218. The Heroine with a sojourning husband, pp. 268-269; 219, The Heroine moving to her lover, p. 269; 220. Representation of the different Heroines, p. 469; 221-223. Enraged, deceived and quarreling Heroines, p. 469 ; 223. The Heroine with a sojourning husband, p. 469; 224. The Heroine having a husband in subjection, p. 469 ; 225. Different classes of Heroine moving to their lover, p. 469; 226. The courtezan, p. 470 ; 227. The woman of high family, p. 470 ; 228. ‘The hand-maid. p, 470 ; 229-232. How to mect a sleeping lover, ए, 470 ; 233-235. The Conjugal Union, p. 470 ; 236. Behaviour at the Conjugal Union, p. 470 ; 237-289. Preparation for the Conjugal Union, p. 471 ; 240-244, Acts prohibited on the stage, 7. 472 ; 245-252. The Heroine in expectancy. p. 472; 253-257,

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Personal omens, pp. 473-474 ; 258. Heroint’s reception of the beloved, p. 474 ; 259-264, Reeciving the guilty lover, pp. 474-475 ; 264. Causes of jealousy; p» 475 ; 265-266. Depression, p. 475 ; 267-268, Mixed Feeling, p. 475 ; 269-270. Disgust, pp. 475-476 ; 271-272. Anger, p 476 3 273-2992, On treating a lover at fault, pp. 476-478 ; 293-298. Acts forbidden on the stage, pp. 478-479 ; 299-300. Endearing terms for the beloved p. 479 ; 301. Angry terms of address for the beloved, p. 479 ; 302-309. Endearing terms of address explained, pp. 479; 310-319. Angry terms of address explained, pp. 480-481 ; 320-328. Goddesses in human roles, pp. 481-482.

CHAPTER TWENTYFIVE .

DEALINGS WITH COURTEZANS, Pages 483-492,

1-2. The definition of a Gallant, p. 483 ; 3-8, Qualities of a Gallant, pp. 483-484 ; 910. The female Messenger, p. 484; 11-126 Qualities of a Messenger, p. 484 ; 13-18. Functions of the female Messenger, p. 485 ; 19. The woman overcome with love, p. 485 ; 20-23. The attached woman, pp. 485-486 ; 24-27. The hostile woman, p. 486 ; 28-29. Winning back of women’s heart, p. 486 ; 30-31, Causes of hostility, p. 486 ; 32-35. Acts winning women’s heart, pp. 486-487 ; 36. The three types of woman, p. 487 ; 37-39. The superior woman, p. 487; 40-41. The middling woman, p. 487 ; 42, The inferior woman, p. 487; 43. The four stages of woman’s youth, p, 488; 44, The primary youth, p. 488; 45. The secondary youth, p. 488; 46. The tertiary youth, p. 488; 47-48, The quarternary youth, p. 488; 49. Behaviour inthe primary youth, p. 488; 50. Behaviour in the secondary youth, pp. 488-489; 51. Behaviour in the tertiary youth, p. 429 ; 52. Behaviour in the quarternary youth, p, 489 ; 53-54, Five types of man, p. 489; 55. The excellent man, 7 489; 56-37. The superior man, p. 489; 68-59. The middling man, p- 490; 60-61. The inferior man, p. 490 ; 62-63, he too old man, p. 490 ; 64-66. Psychological approach to women, pp.490-491 ; 67. Conciliation, p- 491 ; 68, Gift. p. 491; 69. Dissention, Chastisement, p. 491; 70-72. Application of Conciliation, Gift ete. 7. 491; 73. Reading woman's heart from her behaviour, p. 491; 74-80, A courtezan’s mercenary treatment of men, p. 492,

Cuarrer TWentysrx SPECIAL REPRESENTATION, Pages 493-510

1, Special Representation, p, 493 ; 2-4. Day, night, season cte. 5. Objects on the ground, p. 493 ; 6. Moonlight, happincas and air ete, p. 404 ; 7. The sun, dust, smoke ete, 9, Midday sun, 7, 494; 9, Pleasant objects, p. 494 ; 10. Sharp objeets, 0. 494; 11. Deap and exalted fecling, 1. 494 ; 1: Necklace and flowers cte, p.494; 18. The idea of entirety,

XXXII

p. 494; 14. Andible or visible objects, 7, 494 ; 15, Lighting, shooting stars etc. p. 495 ; 16. Repugnant objects, p. 495 ; 17. Hot wind and heat ete. p. 495 ; 18. Lions, bears ete. p. 494 ; 19. Worshipping superiors, p, 495 ; 20-22. Numerals, ए, 495 ; 28. Umbrellas, Banners ete, p. 496 ; 24. Memory and meditation ete, p. 496 ; 25. Height, p. 496 ; 26. Past and Cessation cto, p. 496 ; 27. The autumn, p. 496 ; 28-30. The early winter, pp. 496- 497 ; 31, The winter, p. 477 ; 32. The spring, p. 497 ; 38, The summer, p. 497; 34 The rains, ए. 497; 35. The rainy night, p. 497 ; 36-37, Seasons in general, pp, 497-498 ; 38. The States, p. 498 ; 39-40, The Determinants, p. 498 ; 41-44. The consequents, pp. 498-499 ; 45-46. General directions for representation, p. 499 ; 47. Men’s and women’s efforts, p. 499 ; 48, Women’s mevements of limbs, p. 499 ; 49, Meaning of words, p. 499 ; 50-51. Joy, ए. 499-500 ; 52. Anger, p. 500 ; 53-54. Jealous Anger of ` women, p. 500 ; 55. Men's sorrow, p. 500; 56-57, Women’s sorrow, p. 500; 58, Men’s fear, p. 500; 59-60. Women’s fear, pp. 800-501 3 61-64, Women’s intoxicated condition, pp. 501 ; 65, Parrorts and Sarikie, p. 501. 66, Big birds, p. 501; 67. Asses and (पाल्‌, p. 501 ; 68-70. Bhiitas and Pigaeas, p. 502; 70-71. Greeting an invisible person, p.502; 71-73, Greeting gods superiors, p. 592; 73-74. Great crowd, and friends ete, p. 502; 74-75. Mountains and tall trees, p. 502; 75-78 Wide expanse of water, pp. 502-503; 78-79. A house and darkness ete, p. 503 ; 79-80, Lovesick, cursed and possessed persons, p. 503; 80-83. Aswing, p 503; 83-85. Speaking to the sky, pp. 503-504; 85-86, Speaking aside, Concealed speaking, p. 504; 87-88 Private Personal address, Thinking within oneself, p. 504 ; 90-91. Mentioning ‘incidents that occured already, pp. 504-505; 91-92. Representing Conecaled speakihg, p. 505; 92-94. Repcti- tion of words, p. 505; 94-95. Suspension of Representation, p. 505; 95-97. Observing proper States, p. 505-506; 97-98. No movement in the state of sleeping. p. 596; 98-99. Declamation of a person in sleep, p. 506; 99-100. Declamation of old people, Children’s words, p 506; 100-102. Dying declamation, p. 506; 102-103. Representation of death, p. 507; 103-104. Death from disease, p. 507; 104-105. Death from drinking poison, p. 507; 105-107. The cight stages in death from poison, p. 507; 107-108. Weakness, p. 507; 108-109, Tremor, p. 507; 109-110, Burning sensation, p. 508; 110-111. Hiecough, p. 508; 111-1 2. Froth in the mouth. p. 508; 112-113. Breaking of the neck, Paralysis, p- 508 ; 113 115. Death, pp. 508-509 ; 115-118. General direetions, p. 509 ; 118-122. The triple basis of drama, p. 509; 123-129, People supplying norm to the drama, pp. 509-510. 0 770 TWENTYSEVEN SUCCESS IN DRAMATIC PRODUCTION, Pages 511-526 1. The Success in dramatic production, ए. 511; 2 The two kinds

E

XXXIV.

of Success, p. 511; 8. The human Success, p. 511; 4 The vocal Sucecss, p. 511; 5-15. The physical Success, p. 511-513; 16-17, The divine Success, ए. 513; 18-19. Three kinds of Blemishes, pp, 613-514; 20. Blemishes from gods, p.514; 21-28. Blemishes from an enemy, p. 5143 23-27. Selfmade Blemishes, pp. 514-515 ; 28. Blemishes without remedy, p. 515; 29-36. Palpable sourees of Blemishes, pp. 516-517; 37-39. Three grades of Blemishes, p. 517; 40, Wrong Benediction, p. 517; 41-43, Interpolation is a Blemish, pp. 517-518; 44-47. Limitation of human efforts in a play, pp. 518-519; 48-57. Spectators of a performance, pp. 519-520; 50. Various Classes of spectators, p..520; 59-62, Dis- position of different spectators, p. 520; 62-70, Assessors in a perfor- mance, pp. 520-52) ; 71. Controversy about a performance, 1. 522; 72. Procedure in deciding controversies, p. 522; 73. Recording of Ble- mishes, p. 522; 74-75. Ideal position of Assessors in a performance p. 522; 76. Blemishes to be ignored, pp. 522-523; 77-62. Procedure of awarding the Banner, pp 523-524; 83-84. Co-ordination, p. 554; 85-87. Charm of limbs, p. 524; 88-97. Suitable times for performance, p. 525; 98-99, Emergency performances are independent of time, p. 526; 100-101. Qualities of an Actor, p. 526; 102 An ideal performance, p. 526; 103. Brilliance of Pageant, p. 526; 104-105. The best performance, p. 526,

CuHapPTER THIRTYFOUR TYPE OF CHARACTERS, Pages 527-537

1, Three types of character in a drama, p. 527; 23. A superior male character, p. 527; 3-4. A middling male character, p. 527; 5-7. An inferior male character, p. 527; 8-10. A superior female character, pp. 527-528 ; 11. A middling female character, p. 528; 12. An infcrior female character, p. 528; 13-14. A mixed character, p. 528; 15-20. The four types of the Hero, pp. 528-529 ; 20-23. The four types of Heroines, p. 529 ; 24-25. The two classes of employment for characters, pp. 529-530 ; 26-29. Female inmates of the harem, p. 530; 30-32,The chicf queen, p. 580 ; 33-34. The other queens, 7, 530; 35-86. High-born wives, p. 581; 37-39. Ordinary wives, p.531; 40. Concubines, p 531; 41-42, Women artistes, p- 531 ; 48-44, Actressea, pp. 531-532 ; 44-48. Dancers, p. 532 ; 48-49. Maida in constant attendance, p. 5382; 49-51. Maids of spccial work, p. 532 ; 51-58. Maids in constant move, pp. 532-533 ; 58-54. Errand girls, p. 533; 5455. Mahattaris, p. 533; 55-56, Pratiharies, p. 533 ; 56-57. Maidens, p. 533 ; 57-58, Old dames, p. 588 ; 58-60. Ayuktikig, pp, 588- 534 ; 61-64. ‘Qualities of women to be employed by the king, p. 534 ; 64-70. Other inmates of the harem, p. 534; 71, The Vargadharas. p- 698 ; 72. The Nirmundas, p. 535 ; 73-74. The Kafteuking, p. 585 ; 76-77,

XXXV

External persosn, pp. 535-586 ; 78-82 The king, p. 586; 82-83. The leader of the army, p. 586; 84-85. Councillors, pp. 536-537 ; 85-87. Judges, ए. 537 ; 87-90. Courtiers, p. 537.

CHAPTER THIRTYFIVE DISTRIBUTION OF ROLES, Pages 538-552

1, Distribution of Roles, p. 538 ; 2-4. General principles of dist- ribution, p. 588 ; 5-6, The role of gods, p. 588 ; 7-8. The role of Raksa- sas, fie Danavas ete, pp. 538-539 ; 9-11, The role of kings, p, 539 ; 12-13. The role of army leaders and councillors, p, 539; 14, The role of the Kafeukin and the Srotriya, p, 539 ; 15-17, The role of minor characters, p. 539-540 ; 19, The role of fatigued -persons, The role of persons without diseascs pp, 440; 19-21. Special cases of assigning roles, p, 540 ; 22-23. The roles of characters with extra or special limbs, pp. 340-541 ; 24. The first entry of a character. p. 541; 25-26. The result of proper impersonation, p, 541; 27, The psychological preparation for impersonation, p. 541 ; 28. The three kinds of impersonation, p. 541; 29. The natural impersonation, p- 541 ; 30, The unnatural impersonation, p, 541; 31-33. Imitative representation. p. 542 ; 33-36. Suitability of women in some roles, 542 ; 37. Training for women in different roles, p. 524; 28, Result of proper assignment of roles, pp 542-543 ; 89-41. Result of employing women for acting, p. 543; 42. The two types of dramatic production, p. 543 ; 43-47. The delicate type of production, pp. 543-544 ; 48-53. The violent type of production, pp. 544545 ; 53-59. The typical impersonation of a king; p 545; 59-62. Impersonation of the attendants of gods, p. 546 ; 62-68. The characteristics of a Director, pp. 546-547 ; 69-71. The natural qualities of a Director, p. 547; 71-72, Charaeteris- tics of an Assistant to the Director, p. 547; 72-78, Characteristics of an Actor, p. 547; 73-44. Characteristics of the Parasite, p. 547 ; 75. Characteristies of the Sakara, pp. 547-548 ; 76. Characterjetics of the Jester, p. 548; 77. Characteristics of the servant, ए. 548; 78-81. Charac- teristics of the courtezen, p. 548; 81-83, Characteristics of the typical Heroine, p. 548; 83-85. Women disqualified to be Heroines, p. 549; 85-89. Members of the typical theatrical party, p. 549; 89-91. Charac- teristics of the Jester, pp, 549-550; 91-92. Characterists of the master musician, p. 550; 92-93, Meaning of the word Nata, p. 550 ; 93-95. Benediction defined. p. 550 ; 96-97. Characteristics of the playwright, p. 551 ; 97-98, Characteristics of the Actor, p.551; 98-99 Characteristics of the actress, p, 551 ; 99-100. The maker of headgears 7" 551; 100-101. The maker of ornaments, p. 551: 101-102. The maker of garlands, the costumer, the painter and the dyer, p, 551 ; 108-104. The Craftsmen, the KuSilavas, p, 552; 104-135. The other members of the party, p. 552.

XXXVI

CHAPTER THIRTYBIX THE DESCENT OF DRAMA ON THE EARTH, Pages 558-661

1-9, Sages question, pp. 558-554; 10. Bharata’s reply, pp. 554; 11-23. The Preliminaries and their uses, pp. 554-555 ; 24-26, The ablution of the Director on the stage, p.555 ; 27-29. Bharata’s sons offended the sages by caricature, p. 556; 80-36. The sages curse Bharata’s sons. pp, 556-557 : 37-38, Gods intercede in favour of Bharata’s sons, p. 557; 39-40. Bharata’s sons approach their father, p. 557 ; 41-45. Bharata pacifies them, pp, 557- 558; 46-49. Nahusa invites divine artistes to the earth, p. 558; 50-51. Gods reject the request, p. 558 ; 52-58. Nahusa approaches Bharata, p. 559 ; 54-57, Urvasi and the mundane drama, p. 559 ; 58-61. Bharata grants the request and sends his yons to the carth, pp. 659-560 ; 62-63, Kohala is the suecesgor of Bharata, p. 560 ; 65-68, Bhatate’s sons come down to the carth, p. 560 ; 62-70, Kohala and his associates, p, 560 ; 71-78 Value of the NatyaSastra, p. 561; 74-77. Value of the dramatic show, and the final Bencdictjon, p. 561.

ADDITIONS AND CORRECTIONS we p. 562

INTRODUCTION

I. The Present Work 1. General History of the Study

Since the West came to know of the Sanskrit literature through William Jones's translation of the Sakuntala?, the nature and origin of the ancient Indian theatre have always interested scholars, especially the Sanskritists, all over the world. H. H. Wilson who publighed in 1826 the first volume of his famous work on the subject? deplored that the Natya- gastra, mentioned and quoted in several commentaries and other works, had been lost for ever®. IF. Hall who published in 1865 his edition of the Dagaripa‘, a thedieval work on the Hindu dramaturgy, did not see any Ms, of the NatyaSastra till his work had greatly advanced’. And for the time being he printefl the relevant chapters of the Natyadastra as an appendix to his Dasartipa. Later on he undertook to critically edit the Ms, of the Natyasastra he acquired ; but this venture was subsequently given up, due perhaps to an insufficiency of materials which consisted of one unique Ms. full of numerous /acunae.® But even if the work could not be brought out by Hall, his very important discovery soon helped others to trace similar Mss. elsewhere. And in 1874 Heymann, a German scholar, published on the basis of Mss. discovered up till that date a valuable article’ on the contents of the Natyaéastra. This seems to have been instrumental in attracting competent scholars to the study of this very important text. The French Sanskritist P. Regnaud published in 1880 chapter रणा? and in 1884 chapter XV (in part) and the chapter XVI° of the Natyaastra. This was soon followed by his publication of chapters VI and VII in 1884.!° And J. Grosset another French scholar and a pupil of Regnaud, published later on (in 1888) chapter XXVIII!! of the Natya- Sastra which treated of the gencral theory of Hindu music.

' 8४000197 or tho Fatal Ring. Translated from the original Sanskrit and

Praorite, Caloutta 1789. ` * छ, प. Wilson, Select Specimens of the Theatre of the Hindus (3 vols), Calcutta, 1826-1827. * Wilson, p. 37. Grosset, Introduction, p. iij.

* The Dasarwpa by Dhananjaya (Bibliotheca Indica), Calcutta, 1861-1866.

* Groseet, Introduction, v. iij. ५ 866 note 5 above.

* Ueber Bharata’s Natyasastram in Nachrichten von der Koeniglischen Gesellschaft der Wissenschaften, Goetingen 1874, pp. 86 ff. Ref. Grosset, Introduction P 21.10.70 2-4.

* Le dix-septieme chapitre du Bharatiya-nelyasrstra, Annales du’ Musee Guimet ; Tome, 1, 1880, pp. 85 ff.

* La metrique de Bharata, texte Sanscrit de deux chapitres du Natyasastra publio pour premier fois et suivi dune, interpretation francaise, Annales due Musee Quimet, Tome, IL, 1884, pp. 66 ff. १० Rhetorique sanscrite, Paris, 1814.

४१ Contribution a etude de Ja musique hindow, Lyons, 1888.

हहा

But the different chapters of the work and studies on them, which were published up till 1888, though very helpful for the understanding of some aspects of the ancient Indian dramatic works cannot be said to have thrown any considerable light on the exact nature of the ancient Hindu plays, especially the manner of their production on the stage. Sylvain Lévi’s Théatre indien (1890) in which he discussed comprehensively the contribution of his predecessors in the field and added to it greatly by his own researches, made unfortunately no great progress in this specific direction. Though he had access to three more or less complete Mss. of the Natyasastra, Lévi does not seem to have made any sérious attempt to make a close study of the entire work except its chapters XVII-XX (XVIMI-XXII of our text) and XXXIV. The,reason for his relative indifference to the contents of the major portion (nearly nine-tenths) of the work, seem to be principally the corrupt nature of his Ms. materials, Like his predecessors, Lévi paid greater attention to the study of the literary form of the ancient Hindu plays with the difference that he utilised for the first time the relevant chapters of the Natyasastra,'* to check the accuracy of the statements of later writers on the subject like Dhanafjaya'® and Visvanatha'* who professed their dependence on the Natyagastra. But whatever may be the drawback of Levi's magnificient work, it did an excellent service to the history of ancient Indian drama by focussing the attention of scholars on the great importance of the Natyasastra. Almost simultaneously two Sanskritists in India as well as one in the West were planning its publication. In 1894 Pandits Shivadatta and Kashinath Pandurang Parab published from Bombay the ofiginal Sanskrit text of the work.'* This was followed in 1898 by J. Grosset’s'® critical edition of its chapters I-XI]V based on all the Meza, available up till that date.

Though nearly half a century has passed after the publication of Grosset’s incomplete edition of the NatyaSastra, it still remains one of the best specimens of modern Western scholarship, and though in the light of the new materials available, it is possible now-a-days to improve upon his readings in a few places, Grosset’s work will surely remain for a long time a landmark in the history of the study of this important text. It is a pity that this very excellent work remains unfinished. But a fact equally deplorable is that it failed to attract sufficient attention of scholars

५१ Qhapters XVIL-XX ( XVIU-XXII of our text ).

1s The author of the Dasarupa. Soo above note 4.

५५ The author of the Schityadarpana. See below.

16 Sri Bharatamusi-pravitam, Natyasctram, ( Karyamala, 42 ) Bombay, 1904.

५ Teeate du Bharata sur le Theatro. Texte sanscrit, Edition critique. Tome 1. Partie, I. (Annales det’ Universite de Lyons, Fase. 40, 1898)

xxxix

interested in the subject. Incomplete though it was, it nevertheless contained a good portion of the rules regarding the presentation of plays ou the stage, and included valuable data on the origin and nature of the an¢ient Indian drama, but no-one seems to have subjected it to the searching study it deserved. Whoever wrote on Hindu plays after Lévi depended more on his work than on the Natyaddstra itself, even when this was available (at least in a substantial part) in a critical edition. Tt may very legitimately be assumed that the reasons which conspired to render the Natyasastra rather unattractive included among other things, the difficulty of this text which was not yet illuminated by a commentary.

Discovery in the early years of the present century of a major por- tion of a commentary of the NatyaSistra by the Kashmirian Abhinava- gupta'? seemed to give, however, 9 now impetus to the study of the work, And it appeared for the time being that the NatyaSastra would yield more secrets treasured in the body of its difficult text. But the first ‘volume of the Baroda edition of the work (ch. I-VII)'® including Abhi- nava’s commentary, disillusioned the expectant scholars. Apart from the question of the merit of this commentary and its relation to the available versions of the Natyasastra, it suffered from a very faulty trans- mission of the text. Not only did it contain numerous /acunae, but quite a number of its passages were not liable to any definite interpretation due to their obviously vitiated nature. Of this latter condition the learned editor of the commentary says, ‘the originals are so incorrect that a scholar friend of mine is probably justified in saying that even if Abhi- navagupta descended from the Heaven and secn the Mss. he would not casily restore his original reading. It is in fact an impenctrable jungle through which a rough path now has been traced’. The textual condition of Abhinava’s commentary on chapters VIII-XVIII (VIII-XX of our text) published in 1934!° was not appreciably better.

But whatever may bo the real value of the commentary, the two volumes of the NatyaSastra published from Baroda, which were avowedly to give the text supposed to have been taken by Abhinava as the basis of his work, presented also considerable new and valuable materials in the shape of variant readings collated from numerous Mss. of the text as well as from the commentary. These sometimes throw new light on the con- tents of Natyadastra, A study of these together with a new and more or

11 Dr. 8, K. De seems to be tho first in announcing the existence of a more or 11688 complete Ms. of Abhinava’s commentary, and in recommending its publication.

Skt, Poetica, Vol I. pp. 120-121.

१५ Natyasastra with the commentary of Abhinavagupta. Edited witha preface, pendix and Index by Ramakrishna Kavi. Vol 1, Baroda 1926;

५५ Natyasastra with the commentary’ of Abhinavagupta, Eqited with an on and Index by M. Ramakrishna Kavi. Vol, 11, Baroda, 1934.

XL

less complete (though uncritical) text of the work published from Benares in 1929°° would, itis hoped, be considered a desideratum by persons interested in the ancient Indian drama. The present work has been the result of such a study, and in it has beén given for the first time a com~ plete annotated translation of the major portion of the NatyaSastra based on a text reconstructed by the author. *!

2. The Basic Text

The text of the Natyasastra as we have seen is not available in a complete critical edition, and Joanny Grosset’s text (Paris-Lyons, 1898) does not go beyond ch. XIV- Hence the translator had to prepare a cri- tical edition of the remaining chapters before taking up the translation.** For this he depended principally upon Ramakrishna Kavi’s incomplete edition (Baroda, 1926, 1934) running up toch. XVIII (our XX) and including Abhinava’s commentary, as well as the Nirnayasagar and Chowkhamba editions (the first, Bombay 1894. and the second, Benares, 1929). As the text of the Natyasastra has been available in two distinct recensions, selection of readings involved some difficulty. After the most careful consideration, the translator has thought it prudent to adopt readings from both the recensions, whenever such was felt necessary from the context or for the sake of coherence, and these have been mentioned in the footnotes. But no serious objection may be made against this rather unorthodox procedure, for A. A. Macdonell in his critical text of the Brhaddevata (Cambridge, Mass. 1904) has actually worked in this manner, and J. Grosset too in his edition‘does not give unqualified pre- ference to any racension and confesses that due to conditions peculiar to the Natyasastra his text has ‘un caractere largement éclectique’ (Introduc- tion, p. xxv) and he further says ‘nous n’avions pas l'ambition chimérique de tendre a la reconstitution’ du Bharata primittf......(loc. cét.), Condi- tions do not seem to have chaged much since then.

20 §Sri-Bhardtmuni-pranitam Nalayasastram. (Kashi-Sanskrit Series), Benares, 1929,

+ This edition will be published later on. The following chapters of the NS, have been translated into Fronch: ch XIV and XV ( our XV and XVI) Vogabhinaya by 2. Regnaud in his Metrique du Bharata ; see note 8 above, ch. XVII ( our XVIII) Ehasavidhana by Luigia Nitti-Dolei in her Les Grammairiens Prakrit, This has been partially ( 1-24) translated into English by the present writer in his Date of the Bharata- Natyasasrra, See JDL, 1930, pp. 78६. Chapter XXVIII by J. Grosset in his Oontribution a l'etade de la musique hindou ; see note 10 above. Besides those, ch, XXVIII by B, Breoler in his Grund-elemente der alt-indischen Musik nach dem Bharatiyanatya- sastra. Bonn. 1922, and ch. IV by B. V. N. Naidu, 2. 8. Naiduand 0.9. R. Pantlu in the Tandavalaksazam, Madras, 1936 and chapters I-[II translated into Bengali by the late Pandit Asokenath Bhattacharyya in tho Vasumati, 1362 BS.

XLI 3, . Translation

Though the translation has been made literal as far as possible except that the stock words and phrases introduced to fill up incomplete lines , have been mostly omitted, it has been found necessary to add a number of _ of explanatory words [enclosed in rectangular brackets] in order to bring out properly the cxact meaning of the condensed Sanskrit original. Technical terms have often been repeated (within curved brackets) in the translation in their basic form, especially where they are explained or defined. In eases where the technical terms could not be literally ren- deréd into English they were treated in two different ways: (1) they were given in romanised form with initial capital letters eg. Bhina and Vithi (XX, 107-108, *112-113), Nydya (XXII. 17-18) ete. (2) Words given as translation have been adopted with a view to indicating as far as possible the exact significance of the original, e.g. State (62a04) Sentiment (vasa), VI. 33-34. Discovery (12000), Persuasion (ऽक), Parallelism (udahka- vana) (XVII. 1), Prominant Point (bindu), Plot (vastus) (XX.15) ete : Lest these should be taken in their usual English sense they are distin- guished by initial capital letters. Constantly occuring optative verbal forms have been mostly ignored. Such verbs as Auryad and bhavet ete, have frequently been rendered by simple ‘is’ or a similar indicative form. And nouns used in singular number for the sake of metre have been silently rendered by those in plural number and 2८८ versa, when such was con- sidered necessary from the context.

.

4, Notes to the Traslation

Notes added to this volumes fall generally into three categories. (a) Text-critical, As the basic text is not going to be published imme- diately, it has been considered neecssary to record variant readings, For obvious reasons variants which in the author’s opinion are [ess important have not been generally recorded. (b) Explanatory. These include among other things references to different works on allied subjects and occasional short extracts from the same, Abhinavagupta’s commentary naturally occupies a prominent place among such works, and it has very often been quoted and referred to. But this does not mean that the worth of this work should be unduly exaggerated.’ (©) Materials Sor Comparative Study, A vory old text like the Nityasistra not illuminated by anything like a completo and lucid commentary, should naturally be studied in comparison with works treating similar topics directly or indirectly, Hence such materials have been carefully collated as far ag the resources at the author's disposal permitted.

tig M, Ghosh, “The Ns, and tho Abhinavabharats” in THQ vol. X, 1934, pp. 161ff,

F

XLT

But even when supplied with these notes, readers of this translation may have some difficulty in reconstructing from the work written in 4 (2000 manuer the picture of the sncieat Indian drama in its thestricsl as well as literary form, as it existed in the hoary antiquity. Lo give them some help the theory and practice of the ancient Hindu drama has heen briefly diecussed below together with other relevant matters.

II, The Ancient Indian Theory of Drama 1. The Meaning of Natya

The word “Natya” has often been translated as ‘drama’ and the plays of ancient India have indeed some points of similarity with those of the Greeks. But on a closer examination of the technique of their pro- duetion as described in the Natyasastra, the Hindu dramas represented by the available specimens, will appear to be considerably different. Unless this important fact is borne in mind any discussion on the subject is liable to create a wrong impression. As early as 1890 Sylvain Lévi (pp. 423-424) noticed that Indian Natya differed from the Greek drama from which the Westerners derived their early conception of the art. Though it is not possible to agree with Lévi on all points about the various aspects of this difference and the causes which he attributed to them, no one can possibly have any serious objection against his finding that, “Le nitaka par se nature autant que par son nom se rapproache dela dance scenique ; le drame eat l’action meme” (Joc. ¢), Lévi however did not for reasons stated above fully utilize in this connection the Natyasastra which contains ample materials for clarifying his conclusion.

The essential nature of the (Natya) derived from its etymology cannot by any means be called fanciful. For in the Harivaméa! (6, 200 A.C) we meet with an expression like natakam nanytuh (they danced a play) and the Karptramaijari’? (९. 1000 A.C.) has an expression like sattaam naccidavvam (a Sattaka is to be danced or acted).

The terms like चकष or ठ (representation) and preksi (apecta- ele), all denoting dramatic works, also characterise the Hindu dramas and show their difference from the drama of the Greeks who laid emphasis on action and not on the spectacle. Of the six parts of the tragedy, the most typical of the Greek dramatic productions, Aristotle puts emphasis on the fable or the plot and considers decoration to be un- important. On this point the philosopher says :

“Terror and pity may be raised by decoration—the mere spectacle; but they may also arise from the circumstance of the action itself, which is far

+ <Visnuparran, Oh, 93. 81, 28, » , 20. M, Ghosh, ए. 80,

। xunt: eferable and shows a superior poet, For the fable should be 80 construe- that without the assistance of the sight its incidents may excite horror E commisseration in those who hear them only; » * * * But to produce this effect by means of the decoration discovers want of art in the poet ; who must also be supplied with an expensive apparatus” (II. आ).

But in case of the Hindu dramas the decoration (i. 6, the costumes and make-up) mostly plays an important part. Equally with five other clements such as gestures and postures (@ngika), words (vacika), the repfesentation of the Temperament (sat/va), it gives the Natya its charac- teristic form. But in the theatre of the Greeks, it was not the case. In the

‘performance of the tragedies, for example, they did not care much for the speeteale, if the declamation was properly made. For Aristotle himself says that, “the power of tragedy is felt without representation and actors” (II, 7).

Another peculiarity of the Hindu dramas was their general dependence on dance (छव), song (क), and instrumental music (vidya). Though the chorus of the Greek tragedy introduced in it some sort of dance and songs, the function of these elements seem to have been considerably differ- ent in the Hindu drama. The ancient Indian play was produced through . words, gestures, postures, costumes, make-up, songs and dances of actors, and the instrumental music was played during the performance whenever necessary. But these different elements did not play an equal part in all the plays or different types of play. According as the emphasis was to be put on words, music, or dance, a play or its individual part partook of the nature of what the moderns would call ‘drama’, ‘opera’, ‘ballet’ or ‘dramatic spectacle’®, Due to this nature the Hindu dramas which connected them- selves in many ways with song, dance and instrumental music, had a literary form which was to some extent different from that of the ancient Greeks, But it was not so much due to this literary form as to the technique of their production on the stage that the Hindu dramas received their special character.

After forming a general idea of this Natya, from the various terms used to denote it, one should enquire what the ancient Indian theorists exactly meant by the term (Natya) or what they regarded as being the essence of the dramatic art as opposed to the arts of poetry, fiction or pain- ting. To satisfy, our curiosity on this point the Natyadastra gives us the following passage which may pass for a definition of the Natya.

“A mimicry of the exploits of gods, the Asuras, kings as well as of householders in this world, is called drama” (I. 120).

* Poetics (Everymans Library), p.27. ‘Ibid. p. 17. * ELE, Wilson, On the Dramatic System of the Hindus, Calcutta, 1627, pi 16,20.

५

xLIV

This description seems to fall in a line with Cicero’s view that “drama is a copy of life, a mirror of custom, a reflection of truth”. In this state- ment Cicero evidently takes his cue from Aristotle who considered that the art in general consisted of imitation (४70९515). But this does not help us very much to ascertain the nature of drama as an example of ‘imitation’. For the Greek philosopher nowhere defines this very essentially important term. So when he declares that “epic poetry, tragedy, comedy, dythrambics as also for the most part the music of the flute and of the lyre all these are in the most general view of them imitations’®, one can at best guess how drama imitates, There seems to be no such difficulty about understanding the view of the Hindu theorists. The NatyaSastra lays down very elaborate rules as to how the drama is to make mimiery of the exploits of men and their divine or semi-divine counterparts. It is due to rules of representa- tion that the Hindu drama has been called by the later theorists ‘a poem to be seen’ (SD. 270-271). By this term epic or narrative poetry and fiction etc. are at once distinguished from drama whichis preminently a spectacle including a mimicry of activities of mortals, gods or demigods. it may now be asked what exactly was meant by the word mimicry (a#ukarana) used by the Indian theorists. Did this mean a perfect reproduction of the reality ? For an answer to this question we are to look into the con- ventions of the Hindu drama. . ध

2. The Dramatic Conventions

That the Hindu theorists turned their attention very early to the problem of dramatic representation and enquired about the exact place of realism or its absence in connection with the production of a play, is to be seen clearly from their very sensible division of the technical practice into “realistic” (dokadharami, lit. popular) and “conventional” (satyadharmi, lit. theatrical”. By the realistic practice, the Natyasastra (XIV. 62-76 ; XXII. 187-188) means the reproduction of the natural behaviour of men and women on the stage as well as the cases of other natural presentation. But from the very elaborate treatment of the various conventions regarding the use of dance, songs, gestures and speeches etc. by different characters it is obvious that the tradition of the ancient Hindu theatre recognised very early the simple truth that the real art to deserve the name, is bound to allow to itself a certain degree of artificiality which receives its recognition through many conventions. One very patent example of this conventional practice on the stage, is speeches uttered ‘aside’ or as soliloquy. The advocates of extreme realism may find fault with these as unnatural, and the accusation cannot be denied, but on closer examination of circumstances connected with the construction of a play as well ४6 its production on the stage, it will be found that if the spectators are to demand realism very

५ Poetics, p. ¢

XLV

rigidly then no theatrical performence of any value, may be possible. Neither the Hindus nor the Grecks ran after this kind of absurdity. Critics of ancient Indian dramas will do-well to remember this and to take care to understand the seope and necessity of various conventions relating to the production, so that they may better appreciate the art of great play-wrights like Bhisa, Kalidasa, Sadraka and Viéakhadatta.

3. Time and place in Drama

Hindu playwrights, unlike the majority of Greek tragedians, did never make any attempt to restrict the fictional action to a length of time rorghly similar to that taken up by the production of a drama on the stage. In developing plots they had not much restriction on the length of time, provided that individual Acts were to include incidents that could take place in course of a single day, and nothing could be put in there to interrupt the routine duyties such as saying prayers or taking meals (XX. 23), and the lapse of time between two Acts, which might be a month or a year (but never more than a year)’ was to be indicated by an Introductory Scene (prave3aka) preceding the last one (XX. 27-28).

Similarly there was almost no restriction about the locality to which individual Actors, and gods in their human roles were to be assigned, except that the human characters were always tobe placed in India ie. Bharata varsa (XX. 97).

4. The Unity of Impression

In spite of having no rules restricting the time and place relating to different incidents included in the plot of a drama, the playwright had to be careful about the unity of impression which it was calculated to produce. For this purpose the Natyasastra seems to have the following devices :

The Germ (difa) of the play as well as its Prominent Point (क) was always to relate to every Act of the play and the Hero was sometimes to appear in every Act or to be mentioned there (XX. 15, 30).

An Act was not to present too many incidents (XX.24), and such subsidiary events as might affect the unity of impression on their being directly presented, were merely to be reported in an Introductory Scene. Besides this, short Explanatory Scenes were sometimes put in before an Act to clarify the events occuring in it (XXI). 106-111. All these, not only helped the play to produce an unity of impression but also imparted to its Plot a rapidity of movement which is essential for any kind of successful dramatic presentation.

5, Criticism of Drama

Indians from vary early times considered plays to be essentially ‘spectacle’ (ठ) or ‘things’ to be visualised ; hence persons attending

' Bhavabhuti however violates the rule in his Uttara. in letting many years pass between Acts I and II.

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the performance of a play were always referred to (XXVIL. 48-57) as ‘spectators’ or ‘observers’ (freksaka)® and never as audience (१०१), although there was always the speech element in it, which was a thing to be heard. This disposes of the question of judging the value of a drama except in connection with its production on the stage This importance of tho representational aspect of a play has possibly behind it an historical reason. Though in historical times we find written dramas produced on the stage, this was probably not the case in very carly times, and the dialogues which contribute an important part of the drama were often impro- vised on the stage by the actors”, and this practice scems to have continued in certain classes of folk-plays till the late medieval times™. Hence the drama naturally continued to be looked upc by Indians ag spectacles even after great playwright creators like Bhisa, Kalidasa, Stidraka, and Bhavabhtiti had written their dramas which in spite of their traditional form were literary master-picces.

Now, dramas being essentially things to be visualised, their judgement should properly rest with the people called upon to witness them. This was not only the ancient Hindu view, even the modern producers, in spite of their enlisting the service of professional (dramatic) critics, depend actually on the opinion of the common people who attend — their performance.

The judgement of the drama which is to depend on spectators has been clearly explained in the theory of the Sucecss diseussed in the Nitya- Sistra(X XVII). In this councetion one must remember the medley of persons who usually assemble to witness a dramatic performance and what varying tastes and inclinations they might possess. For, this may give us some guidanee as to what value should be put on their judgement which appear to have no chance of unity. In laying down the characteristics of a drama the Nityasastra has the following : “This (the Natya) teaches duty to those bent on doing their duty, love to those who are eager for its fulfilment, and it chastises those who are ill-bread or unruly, promotes self- restraint in those who are disciplined, gives courage to cowards, energy to hervie persons, enlightens men of Poor intellect and gives wisdom to the learned. This gives diversion to kings, firmness [of mind] to-persons afflicted with sorrow, and [hints of acquiring] wealth to those who are for carning it, and it brings composure to persons agitated in mind. The drama as I

a Preksa ocourting in NS. II, 99, scoms to bo the same as ‘pekkhz’ montioned in Pall Brahamujalasutta Soo Levi. IL. p. 54, * Winternitz, Vol. pp. 101-102. १ The Krenakirtana, a collection of Middle Bongali songs on Krana and Radha’s love-affaizs, seems to have been the Musical framework of adrama. Woe saw in our early boyhood that oxtemporised dialogues wore a special feature of the old type

Bengali Yatras. Theso havo totally disa i : Ppearod no theatre which depend on thoroughly written plays, +

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have devised, is a mimiery of actions and conducts of people, which is rich in various emotions and which depicts different situations. This will relate to actions of men good, bad and indifferent, and will give courage, amuse- ment and happiness as well as counsel to them all” (1.108-119).

It may be objected against the foregoing passage that no one play can possibly please all the different types of people, But.to take this view of a dramatie performance, is to deny its principal character as a social amusement. For, the love of spectacle is inherent in all normal people and this being so, every one will enjoy a play whatever be its theme, unless it is*to contain anything which is anti-social in character. Tho remarks of the author of the Natyasastra quoted above on the varied profits the speeta- tors will reap from witnessing a performance, merely shows in what diverse ways different*types of plays have their special appeal to the multitu- dinous spectatoss. And his very detailed treatment of this point, is for the sake of suggesting what various aspects a drama or its performance may have for the spectators. This manysidedness of an ideal drama has been very aptly summed up by Kalidasa who says, “The drama, is to provide satisfaction in one [place] to people who may differ a great deal as regards their tastes” (Malavi. 1.4). It is by way of exemplifying the tastes of such persons of different category that the Natyasastra says :

“Young people are pleased to sce [the presentation of] love, the learned a reference to some [religious or philosophical] doctrine, the seekers after money topics of wealth, and the passionless in topics of liberation.

Heroic persons are always pleased in the Odious and the Terrible Sentiments, personal combats and battles, and the old people in Puranic legends, and tales of virtue. And common women, children and uneultured persons are always delighted with the Comic Sentiment and remarkable Costumes and Make-up” (XXV. 59-61).

These varying tastes of individual spectators were taken into consi- deration by the author of the Natyasastra when he formulated his theory of the Success. The Success in dramatic performance was in his opinion of two kinds, divine (दष) and human (शद) (XXVIL 2). Of these two, the divine 8८८६९७8 seems to be related to the deeper aspects of a play and came from spectators of a superior order i.c. persons possessed of culture and education (XXVIL 16-17), and the human 8०८९९88 related to its superficial aspects and came from the average spectators who were ordinary human beings. It is from these latter, who are liable to give expression to ‘their enjoyment or disapproval in the clearcst and the most energetic ‘manner, that tumultuous applause and similar other acts proceeded (शा. 8, 8-18, 13-14), while the spectators of the superior order gave £ appreciation of the deeper and the more subtle aspects of a play

VII, 5, 6, 12, 16-17). During the medieval times the approval of the

pectators of the latter kind-came to he considered appreciation par

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excellence and pro-ocoupied tho experts or learned critics. They analysed 108 process in every detail with the greatest possible care in their zealous adherence of Bharata’s theory of Sentiment (rasa) built upon what may be called a psychological basis.

But in spite of this later development of this aspect of dramatic cri- ticism it never became the preserve of specalixts or scholars, Crities never forgot that the drama was basically a social amusment and as such depen- ded a gr eat deal for its success on the average spectator. Even the Natya- 4astra has more than onee very clearly said that the ultimate court of appeal concerning the dramatic practice was the people (XX. 125-126). Hence a fixed set of rules, be it of the Natyaveda or the Natyadastra was never considered enough for regulating the criticism of a performance. This seems to be the reason why special Assessors appointed to judge the different kinds of action occurring in a play (XXVI. 65-69), decided in co-operation with the select spectators, who among the contestants deserved to be rewarded.

6. The Four Aspects of Drama,

Though the Hindu plays are usually referred to as ‘drama’ all the ten varieties of play (riba) deseribed in the Natyasastra are not strictly speak- ing dramas in the modern sense. Due to the peculiar technique of their construction and production they would partially at least partake of the nature of pure drama, opera, ballet or merely dramatic spectacle, To under- stand this technique one must have knowledge of the Styles (ग) of dra- matic production described in the Natyasastra (XXII), These being four in number are as follows: the Verbal (25700), the Grand (saéfvati), the Energetic (Grabhati) and the Graceful (हन). The theatrical presenta- tion which is characterised by a prepondcrating use of speech (in Skt.) and in which male characters sre excusively to be employed, is said tobe in the Verbal Style (XXII. 25ff.), This is applicable mainly in the evoeation of the Pathetic and the Mervellous Sentiments. The presentation which depends for its effect on various gestures and speeches, display of strength as well as acts showing the rise of the spirits, is considered to bein the Grand Style (XXIL 38 ff), This is applicable to the Heroic, the Marvellous and the Furious Sentiments, The Style which includes the prosentation of a bold person speaking many words, practising deception, falechood and bragging and of falling dowa, jumping, crossing over, doing deeds of magic and conjuration ete, is called the Energetic one. This is applicable to the Terri- ble, the Odious and the Furious Sentiments (XXII 65१), The presenta- tion which is specially interesting on account of charming costumes worn mostly by female characters and in which many kinds of dancing and sing- ing are included, and the themes acted ralate to the practice of love and its

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| enjoyment, is said to constitute the Graceful Style (XXII. 470), Ibis pro- | per to the Erotic and the Comie Sentiments From a careful examination of the foregoing descriptions one will see that the Styles, excepting the Graceful, are not mutually quite exclusive in their application. On analysing the description of different types of play "given in tho NatyaSastra it will be found that the Nataka, the Prakarana the Samavakara and the Thamrga may inelude all the Styles in their presen- "tation, while the I)ima, the Vyayoga, the Prahasana, the Utsrstikanka, the Bhana anc the Vithi, only some of these (XX. 88, 96), Hence one may call inte question the soundness of the fourfold theoretical division of the Styles _ of presentation. But logically defective though this division may appear, ¦ it helps one gregtly to understand the prevailing character of the perfor- mance of a play as it adopts one or more of the Styles, and gives prominence , #0 one or the गाल, It is a variation of emphasis on these, which is ¦ responsible for giving a play the character of a drama (including a dramatic ; spectacle), an opera or a ballet, Considered from this standpoint, dramas or dramatic spectacles like the Nataka, the Prakarana, the Samavakara and the Thimrga may, in their individual Acts. betray the characteristics of an opera or a ballet. The Prahasana, anone Act drama to be presented with attractive costumes and dance, may however to some extent, partake of the nature of a ballet. The Jima, the Vithi, the Bhana, ihe Vyayoga and the Utsrstikatika ave simple dramas devoid of dance and colourful costumes.

Ill. Literary Structure of the Drama : 1, Ten Types of Play

The Nitaka. To understand the literary structure of the Hindu drama, it will be convenient to take up first of all the Nataka which is the most important of the ten kinds of play described in the Natyasastra’.

(a) Subject-matter and division into Acts.

The Nataka is a play having for its subject-matter a well-known story and for its Hero a celebrated person of exalted nature. It describes the character of a person descending from a royal seer, the divine protec- tion for him, and his many superhuman powers and exploits, such as success in different undertakings and amorous pastimes; and this play should have an appropriate number of Acts (XX. 10-12)

As the exploits of the Hero of the Nataka have been restricted to his auceess in different undertakings including love-matters, it is a sort of ‘comedy’, and as such it can never permit the representation of the Hero’s defeat, flight or capture by the enemy or a treaty with him under compul-

1 NS. ignores the Uparvpakas. For these 866 SD. NL. and BhP. ete. G

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sion. Such a representation would negative the subject of the play कांत is the triumph or the prosperity of the Hero. But all these except his (th. Hero's) death, could be reported in an Introductory Scene which may come before an Act. The presentation of the Hero’s death was for obvious reasons impossible in a comedy.

The first thing that attracts the attention of reader on opening 4 Nataka, is its Prologue (sthapand or prastuvana). But according to th: Natyasastra this was a part of the Preliminaries (Atirvaranea) and was outside the seope of the play proper (V.171). That famous playwrights like Bhasa, Kalidasa and others wrote it themselves and made it the formal beginning of their dramas, scems to show that they made in this matter an innovation which as great creative geninses they were fully entitled to.

But unlike the Greek plays the Hindu Natakas are divided int Acts the number of which must not be less than five or more than ten (XX. 57). These Acts, however, are not a set of clearly divided scones ५ they usually are in modern western compositions of this eategory, An Act of the Hindn drama consists of a series of more or less loosely con- nected scenes? which due to its peculiar technique could not be separated from one another. It has three important characteristics. +

i) Only the royal Hero, hia queen, minister, and similar other im- portant personages are to be mado prominent in it and not any minor character (XX. 18). ‘This rule seems to be meant for securing the unity of impression which has been referred to before.

(ii) It is to include only those incidents which could take place in course of a single day (XX. 23). If it so happens that all the incidents occurring within a single day cannot be accommodated in an Act these , surplus events are to be reported ina clearly separated part of it, called the Introductory Scene (fravesaka) where minor characters only can take part (XX. 27, 30). The same should be the method of reporting events that are to be shown as having oceurred in the interval between two Acts (XX. 31), Evidently these latter should be of secondary importance for the action of play, But according to the Nityasastra these should not cover more than a year (XX. 28). This allowanee of a rather long period of time for less important events occurring between two Acts of a Nitaka was the means by which the Hindu playwrights imparted speed to the action of the play and compressed the entire plot distributed through many events over days, months and years within its narrow frame-work auitable for representation within a few hours, (iii) An Act should not include the representation of events relating to feats of excessive anger, favour and gift, pronouncing a course, running

* Soo note 2 in IV. below.

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away, marriage, a miracle, a’ battle, loss of kingdom, death and the siege of a city and the like (XX. 20, 21). The purpose of this prohibition was probably that, when elaborately presented in an Act, these might divert much of the spectator’s interest from the line of the principal Sentiment which the play was to evoke and might therefore interfere whith the unity of impression which it was to make,

(b) Explanatory Devices

Gi) Zhe Introductory Scene. It has been shown before how the Hitdu playwrights divided the entire action of the Nataka into two sets of events of which the one was more important than the other, and how they represented in its Acts the important set, whereas the less important ones *were reported, whenever necessary, in an Introductory Scene giving ane the 1469 of the time that intervened between any two Acts. This Scene is one of the five Explanatory Devices (arthopaksepaka) which were adopted by the playwright for clarifying the obscurities that were liable to occur due to his extreme condensation of the subject-matter.

The other Txplanatory Deviees are as follows: The Intimating Speech (र्द), the Supporting Scene (a7skambhaka) the Transitional Scene (ankdvatira) and the Anticipatory Scene (aieamukha).

(ii) The Intimating Speech. When some points [in the play] are explained by a superior, middling or inferior character from behind the curtain, it is called the Intimating Speech (XXI. 108).

(iii) The Supporting Scene. The Supporting Scene relates to the Opening Juncture only of the Nataka. It is meant for describing some incident or occurrence that is to come immediately after (XXI. 106-107).

(iv) The Transttional Scene. When a scene which occurs between two Acts or is a continuation of an Act andis included init, relates to the purpose of the Germ of the-play, it is called the Transitional Scene (XXII, 112).

(v) The Anticipatory Scene. When the detached beginning of an Act is summarised by a male or a female character, it is called the Anti- cipatory Scene (XXI. 112).

(c) The Plot and its Development

The Plot or the subject-matter (vastu) of a Nataka may be twofold : “The principal” (@dhikartka) and the “incidental” (prasangika), The meaning of the principal Plot is obvious from its name, and an incidental Plot is that in which the characters acting in their own interest incidentally furthag the purpose of the Hero of the pricipal Plot (XXI. 2-5).

The exertion of the Hero for the result to be attained, is to be represented through the following five stages (XXI. 8): Beginning (armbha), Effort (prayaina), Possibility of Attainment (prapts-sambhava),

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Certainty of Attainment (#éyatdpi:) ~and Attainment of the Result (phalaprapts'). ‘These five stages of the Plot have five corresponding Elements of the Plot (XXI. 20-21) such as, the Gorm (diz), the Prominent Point (bindu) the Episode (fateka), the Episodical Incident (Arakari) and the Dénouement (arya). Besides these aspeets of the action and the Plot of the Nataka, the elaboration of the latter has been viewed ५ depending on its division into the following tive Junctions whieh are a, follows’: the Opening (1160. the Progression (pratimukha). the Develop. ment (garbha), the Pause (oimaréa) and the Conclusion (a1 zahana).

And these have been further subdivided and described to give detailed hints as to how the playwright was to produce a manageable play including events supposed to occur during a long period of time.

Kalidaea’s Sakuntala and Bhisa’s Svapna-vasavadatta are well: known examples of the Nitaka :

The Prakarana. The second species of Hindu play, is the Praka- rana which resembles the Nataka in all respect. except that “it takes a rather less elevated range”. Its Plot is to be original and drawn from real life and the most appropriate theme is love. The Hero may be a Brahmin, merchant, minister, priest, an officer of the king or a leader of the army (XX. 49-51). The female characters inelude a eourtezan ora depraved woman of good family (XX. 53)". But the courtesan should not meet the Hero when he is in the company of a lady or gentleman of high family, and if the courtezans and respectable ladies must meet on any account they are to keep their language and manners undistorted (XX. 55- 56). From these and other features, the Prakarana has been called a bourgeois comedy or comedy of manners of a rank below royalty.

Stidraka’s Myechakatika and Bhavabhiiti’s Méalatimadhava are well- known examples of the Prakarana.

The Samavakira, The Samavakira is the dramatic representation of some mythological story which relates to gods and some well-known Asura, who must be its Hero. It should consist of three Acts which are to take for their performance cightcon Nadikis (seven hours and twelve minutes). Of these the first Act is to take twelve and the second four and the third two Nadikis only. The gubjeet-matter of the Samavakira should Present deception, excitement or love, und the number of characters allowed in it are twelve. And besides this, metres used in it should be of the comples kind (XX. 68-76).

* Wilson who did not see the N.S, said, of the Hindu drama that the Parakiya or sh inate the objent of dramatic iatrigua, imaginatioa and curbed the wit Theatre, Vol. I. p. xiv).

“ Sed ELH. Wilson, On tho Dramatic Sysfom of the Hindus, Oaloutta, 1827, p. 16.

“We may however observe to the honour 6 who is the wife of another is neggr to be 4 prohibition which vould sadly have cooled the of Dryden and Congreve ‘Select Specimens of Hindu

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No old specimen of this type of drama has reached us. From the deseription given in the Natyasastra it seems that the Samavakira was not a fully developed drama, but.only a dramatic spectacle on the sasis of a mythological story. It naturally became extinct with the development and productien of fulfledged literary dramas such as those of Bhasa and Kalidasa,

Thimrga, The Thamyga is a play of four Acts in which divine males are implicated in a fight over divine females, It should be a play with well-ordered construction in which the Plot of love is to be based on causing discord among females, carrying them off and oppressing [the enemies], and when persons intent on killing arc on the point of starting a fight, the iiapentling battle should be avoided by some artifice (XX. 78-82).

No old specimen of this type of play has been found. From the description givén in the Natyasastra it seems that the Ihamrga was a play of intrigue, in which gods and goodesses only took part.

The Dima. The Jima is a play with a well-constructed Plot and its Hero should be well-known and of the exalted type. It is to contain all the Sentiments except the Comie und the Erotic, and should consist of four Acts only. Incidents depicted in it are mostly earthquake, “fall of meteors, eclipsea, battle, personal combat, challenge and angry conflict. It should abound in deceit, jugglery and energetic activity of many kinds. The sixteen characters which it must contain are to include different types such as gods, Nagas, Rakgagas Yaksas and Piéacas (XX 84-88),

No old or new example of this type of play has reached us. It seems that like the Samavakira this was a dramatic epectacle rather than a fulfledged drama. With the advent of literary plays of ४ more developed kind, it has naturally become extinct.

Vyiiyoga. The Vyayoga is a play with a well-known Hero and a small number of female characters. The events related in it arc to be of one day’s duratiou. It is to have one Act only and to inelude battle, per- sonal combat, challenge and angry conflict (XX. 90-92).

Bhasa’s Madhyama-vyayoga isa solitary old specimen of this type of play.

एणा, The Uteystikatka or Anka is an one-act play with a well-known plot, and it includes only human characters. It should abound in the Pathetic Sentiment and is to treat of women’s lamentations and despondent utterances when battle and violent fighting have ceased, and its Plot should relate to the downfall of one of the contending characters (XX. 94-100).

Bhaca’s Urubhanga seems to be its solitary specimen. This type of play may be regarded as a kiud of one-act tragedy.

The Prahasana. The-Prahasana is a farce or a play in which the Comie Sentiment predominatesy tnd it too is to consist of one ‘Act only,

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The object of langhter is furnished in this, mainly by the improper conduct of various sectarian teachers as well as courtezuns and rogues (XX 102-106),

The Mattavilisa and the Bhagavadajjukiya are fairly old specimens of this type of play,

The Bhana. The Bhana is au one Act play with « single character who speaks after repeating answers to his questions supposed to be given by a person who remains invisible, throughout. Thia play in monologue relates to ouc's own or another’s adventure. It should always include many movements which are to be acted by a rogue or a Parasite (XX. 108-110), The Bhanas included in the collection published under the title (मापा. bhini seem to be old specimens of this type of play.

The Vithi. The Vithi should be acted by one or two persons. It may contain any of the three kinds of characters superior, middling and inferior (XX. 112-113). It seems to be a kind of a vey short one Act play. But one cannot be sure about this ; for no specimen of this type of play has come down tu us.

2. Diction of a Play

(a) The Use of Metre. One of the first things to receive the atton- tion of the Hindu writers on dramataurgy was the importance of verse in the dramatic dialogue. ‘They discouraged long and frequent prose passages on the ground that these might prove tiresome to spectators (XX. 34). After giving a permanent place tu verse in drama the Hindu theorists utilized their detailed knowledge of the structure of metres which varied in cesura as well as the number and gequeace of syllables or moras in a pada (XV. 34if, XIV. 1-86), for heightening the effect of the words used, by putting them in a appropriate metres. In this respect they framed definite rolex ५ to the suitability of particular metres to different Senti- ments. For example, the description of any act of boldness in connexion with the Heroic and the Furious Sentiments is to be given in the Arya metre, and compositions meant to express the Erotic Sentiment should be in gentle metres such as Malini and Mandakrantd, and the metres of the Sakkari and the Atidhrti types were considered suitable for the Pathetic Sentiment (XVIL. 110-112). In this regard the Hindu theorists, and for that matter, the Hindu playwrights anticipated the great Shakespear: who in his immortal plays made “all sorts of experiments in metre”,

(b) Euphony, After considering the use of metres the author of the NatyaSastra pays attention to cuphony and says, “The uneven aud even metres which have been described before should be used in composition with agreeable and soft sounds according to the meaning intended.

The playwright should make efforts to use in his composition sweet and agrecable words which can be recited by women.

A play abounding in agreeable soynd and sense, and containing no

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obscure or difficult words, intelligible to the country people, having a good construction, fit to be interpreted with dances, developing Sentiments......... becomes fit for representation to spectators” (XVII. 119-129),

(c) Suggestive or Significant names. Another important aspect of the diction was the suggestive or significant names for different characters ina play, It has been said of Gustave Flanbert that he took quite a long time to find a name for the prospective hero and heroine of his novels, and this may appear to be fastidious enough. But on discovering that the Hindu dramatic theorists centuries ago laid down rules about naming the created characters (XIX. 30-36), we come to appreciate and admire the genius of tlie great French writer.

(ध) Vartety of languages or dialects, The usc of Sanskrit along with different dialects of Prakrit (XVIII. 36-61) must be ascribed to circumstances ia the midst of which the Hindu drama grew up. The dramas reflect the linguistie condition of the society in which the carly writers of plays lived. As the specch is one of the essential features of a person’s character and social standing, it may profitably be retained unal- tered from the normal. Even ina modern drama dialacts are very often used though with a very limited purpose.

1४. The Ancient Indian Drama in Practice 1, Occasions for Dramatic Performance

The Hindu drama like similar other forms of ancient art and poetry ‘seems to have been of religious origin, and it developed probably out of idances and songs in honour of a deity like Siva who in Tater times came to be styled the great dancer-actor (#alerija). As time passed, the dance ith songs gradually assumed the form of regular dramatic spectacles, and bho range of subjects treated was extended beyond the legends connceted With the exploits of a particular deity. It is just possible that this Revelopment of the religious aspect came in course of time to be partially arrested, and plays began to be composed more with a purely secular aracter. And this change considerably loosencd its original connexion pith the popular deities. Possibly due to this the Hindu drama in the 81016 period of its career, is found to be acted sometimes for moral edif- ition as in the case of the Buddhist plays, sometimes for the acsthetic joyment of the elite as in the case of Kilidisa’s works, and sometimes F hononr of adeity asin case of one of Bhavabliiti’s plays. In spite of | various uses, the Hindu drama unlike its modern counterparts did ibly never become an ordinary amuscment of everyday life. It was batly on special occasions like a religious festival, a marriage ceremony, ing’s coronation, a friend’s visit that dramatic performances were held : , 269; AD. 12-14). But among all these occasions religious festivals

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were the most common for the performantee of drama. It was natural that on such occasions the drama was a popular entertainment as well, the public being then in a holiday mood.

Another fact about the dramatic performances of the Hindus was that these were sometimes held in the form of contests (XXVII. 21-22, 71, 77-79). Different groups of actors vicd with one another for the popular appreciation, and reward for their skill in the particular art. This drama, however does not seem to have been a regular feature of the Hindu, as was the case with that of tho Greeks, and theatrical troups gave, how- ever, performance usually for money without any spirit of rivalry towards others, and were paid by the rich people or the different guilds.

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2. The Time of Performance

Except in the midnight or at noon or at tho time of the Sandhya prayers, the Hindu dramas could be performed almost at any part of the day or of the night. But this does not mean that any play could be pro- duced at any allowable time during the twentyfour hours. Thongh at the command of the patron the Director of a theatrical party could overlook strict rules in this regard, the time of performance was to be regulated according to the nature of the subject-matter of the individual play. For example, a play based on a tale of virtue was to be performed in the fore- noon; a performance which was rich in instrumental music, and told a story of strength and energy, was to be held in the afternoon, and a play which related to the Graceful Style, the Erotie Sentiment, and required . ९०९६४] and instrumental music for its production, was tobe performed in the evening ; but in case of plays which related to the magnanimity of the Hero and contained mostly the Pathetic Sentiment, performance was to be held in the morning (XXVILI. 88-99).

Though in the modern times dramatic performance is mostly held in the evening, the ancient Indian rules regarding the assignment of a play of a particular type to a particular part of the day or of tho night need not be considered queer im any way. On the other hand, they appear very much to have been based on a proper understanding of the ever-changeable nature of human ‘personalities. Even ifa play based ona tale of virtue

_ or of woe, when properly presented on the stage, could be appreciated at

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^

any time, it had better chance of impressing the spectator in the forenoon or in the morning, when after the night’s sleep and rest, he could be the

*,most receptive in regard to these Sentiments That a play including a

story of energy and strength can better be assigned to the after-noon is to

. be explained on the assumption that on taking rest after meals at the com-

pletion the morning's activities, one becomes psychologically more competent to appreciate stories of etrongth and energy presented on the stage. In a similar manner, a play with love aq its principal theme (ie, with

LVIT

the Erotic Sentiment) may be more effectively presented on the stage in the evening, when after the day’s work, one is naturally inclined to enjoy the company of his dear woman, be she his wife or the hetaera.

8, The Playhouse or the Theatre

The Niatyasastra describes various types of playhouse, and their different parts have been mentioned to some extent in detail. But in the absence of evidence the like of which has been copiously available in case of the Greek theatre, it cannot be said how far the ancient Indian plays were peformed in specially constructed theatres. It may be possible that only the kings and very wealthy people owned playhouses constructed accor- ding to the NatyaSastra, while dramatic spectacles meant for the common people were heid in the open halls called the Nat-mandir (Natya-mandira) in front of the temples, or in a temporarily devised theatre under the cover

canopy, as in the case of the modern Bengali Yatras which seem to have some resemblance and connexion with the ancient Indian Natya described in the Sdstra. One remarkable feature of the playhouses described in the Natya-Sastra is that they are ofa very moderate size, the largest among them (meant for mortals) being only thirtytwo yards long and sixtecn yards board, capable of accommodating about four hundred (400) spectators. This isin sharp contrast with the Athenian theatre which sometimes held as many as fifteen thousand (15,000) people. ^ The comparative smallness of the ancient Indian theatre was a nece- ssary consequence of the pecular technique of the dramatic production. For in a larger playhouse the spectators could not all have heard delicate points on which depended in nosmall measure the success of a performance. The inordinately large Athenian theatre was not much handicapped in this respect, for the Greek drama depended on a considerably different technique.

The Natyasistra describes three main types of playhouse : oblong (णु), square (caturasra) and triangular (¢ryasra). These again might be the large, medium or small, with their length respectively as one hundred and eight, sixtyfour, and thirtytwo cubits. This gives altogether nine different varities of theatres, viz. (i) the large oblong, (ii) the large- square, (iii) the large triangular, (iv) the medium oblong, (v) the medium square (vi) the medium triangular, (vii) the small oblong, (viii) the small square and (ix) the small triangular. These nine types can also be measured in terms of dandas instead of that of cubits, This Will give us eighteen different diamensions of playhouse. But the Natya- SAstra is silent about the use of the playhouse measured in terms of dandas, and the playhouse of the largest type measuring 108 cubits in length have been prohibited by the Sastra for tho mortals. And it has been mentioned before that a playhouse more in area than thirtytwo yards long and sixteen

H

LVIII

yards broad has been prescribed for them. ‘This should be divided into three parts: (i) the tiring room (#epathya) (ii) the stage (vangapitha or raingasirsa) and (iii) the auditorium (rangamandala). Of these the tiringroom would be at one end of the theatre and would measure sixteen yards by four yards. On the two sides of the stage there should be two Mattavaranis each occupying an area of four yards by four yards and having four pillars. Thus the area to be oceupied by the seats of specta- ` tors would be twentyfour yards by sixteen yards.

The tiring room (#epathya) was the place in which the actors and the actresses put on the costumes suited to the different roles, and from this place, the tumults, divine voices (deva-vani) and similar other acts proceeded. This part of the theatre was separated from the stage by two screens over its two doors, Between these two doors the members of the orchestra (Au/apa) were to sit and the direction facing them was to be considered conventionally the east.

4, The Representation

To understand the technique of representation of the Hindu drama one must remember that it avoided stark realism and gave utmost scope to imagination and fancy. The one unmistakable evidence of this is the total absence of any painted scenery from the stage. This 15 but a negative side of it. If the Hindus. avoided bringing in any kind of artificial scenery, they made positive efforts in communicating the meaning of the drama and calling forth the Sentiment (vasa) in the spectators through suggestive use of colour in the costume and ` make up of the actors and rhythmic movements of many kinds which have been summed up in their theory of four representations (abhinaya) such as angika, vacika, aharya, and sattotka (V1.28).

(a) The Physical Representation

Among these, the 21674 should be discussed first. This consists of the use of various gestures and postures of which the Natyasdstra gives elaborate descriptions. Different limbs have been named and their manifold gestures and movements described, with various significance attached to each one of them (VIII-XII). For example, the head has thirteen different gestures which are as follows :

Akampita : Moving the head slowly up and down.

Kampita: when the movements in the Akampita head are quick and copious. (Uses): The Akampita head is to be applied in giving a hint, teaching questioning, addressing in an ordinary way (lit. naturally), and giving an order.

The Kampita head is applicable (lit. desired) in anger argument understanding, asserting, threatening, sickness and intolerence.

Dhauta and Vidhuta : A slow movoment of the head is called the

LIX

Dhuta and when this movement is quick it is called Vidhuta. (Uses) : The Dhuta head is applicable in unwillingness, sadness, astonishment, confidence, looking side ways, emptiness and forbidding.

The Vidhuta head is applied in an attack of cold, terror, panic, fever and the first stage of drinking (i. e. intoxication).

Parivahita and Udvahita: when the head is alternately turned to two sides it is called the Parivahita, and when it is once turned upwards it is known as the Udvahita. (Uses): The Parivahita head is applicable in demonstration, surprise, joy, remembering, intolerence, cogitation, concealment and [amorous] sporting.

The Udvahita head is to be applied in pride, showing height, looking high up, self-esteem and. the like.

Avadhuta १ When the heal: once turned down it is called the Avadhuta. (Uses): it is to be applicd in [communicating] a message involking a deity, conversation and beckoning [one to come near].

Aficita : When the neck is slightly bent on one side the कलं head is tha result, (Uses) : It is applicable in sickness, swoon, intoxication anxiety and sorrow.

Nihaneita : when two shoulders are raised up with the neck bent on one side the Nihaiicita head is produced. (Uses): It is to be used by women in pride, Amorousness (vasa), Light-heartedness (00000). Affected Indifffirence (:bb0ka), Hysterical Mood (edlakifcita). Silent Expression of Affection (mottayita), Pretented Anger (kuttamita)' ; Paralysis (stambha) and Jealous Anger (mata).

Paravrtta: when the face is turned round, the Paravrtta head is the result. (Uses): It is to be used in turning away the face, and looking back and the like.

Utksipta : when the face is raised up the Utkgipta head is the vesult. (Uses): It is used indicating lofty objects, and application of divine weapons.

Adhogata: The head with the face looking downwards is called the Adhogata. (Uses): Tt is used in shame, bowing [in salutation] and Sorrow:

Parilolita: when the head is moving on all sides, it is called Parilolita. (Uses): It is used in fanting, sickness, power of intoxi- ation, possession by an evil spirit, drowsiness and the like.

The eyes are similarly to have different kinds of glances according to the States (ऋवे) and Sentiments (rasa) they are to express. The cyeballs too are liable to similar changes to creat impressions of different feelings and emotions, and so have the eyebrows, the nose,

‘ For the definition of all these terms together with the preceding ones see NS. XXIV, 15, 18-22,

LX

the cheeks, the chin, and the neck. The hands, however, are the most important limbs in the making of gestures. Gestures and movements of hands fall into three classes, viz. single (asamyuta), combined (semyuta) and dance hands (sréta-hasta), Single-hand gestures and movements relate to one hand only, while combined hands to both the hands. The following are examples of the three kinds of hand gesturcs :—Pataka (single hand): The fingers extended and close to one another and the thumb bent. A»jali (combined hand) Putting together of the two Pataka hands is called the भा, Caturasra (dance-hand) : The Katakimukha hands held forward eight Atigulis apart [from each other] on one’s breast, the two shoulders and elbows on the same level. Besides these gesturcs, the hands have varied movements which are characterised by the following acts: drawing upwards, dragging, drawing out, accepting, killing, beckon- ing, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating(IX. 161-163).

From the foregoing discussion about the gestures it is apparent that their uses fall into two different categories, viz. realistic and conven- tional. Of these two types, the gestures used conventionally far outnumber those of the other kind. But this should not appear strange. For the ancient Indian dramatists and theatrical producers were fully conscious of the limited scope of realism in arts of various kinds, and hence they coneeived action as comething very closely allied to dance. This demanded that while moving on the stage with or without uttering any word, the actors should gesticulate rhythmically, to impart grace and decorative effect to their figure. For this very purpose another set of gestures called Dance-hands (nrttahasta) are aleo to be used. As their name implies these hands were exclusively to be used in dance, but for reasons men- tioned above -they were sometimes utilized at the time of declamation or recitation. The lower parts of the body down to the ffeet are also to be similarly used. Among these, the feet are the most important. On them depend the different movements of the entire body as well as the various standing postures. The movements of the fect are of three kinds, viz. ordinary gait, Cari and Mandala, Of these, the Cari is a simple movement of the feet (XI.) while Mandala, is a series of such movements considered together (XIJ.) During the stage fighting the two combatants are to move with Caries and Mandalas in accompaniment with suitable music. And the gait is very valuable for the representation of different roles. In this matter too convention plays a very considrable part. The Natyaéastra laye down elaborate rules about the width of footsteps and the tempo of the gait for different characters according to their social position, age, sex, health and feeling as well as the peculiar environments in which they might be placed (XTII. 1-157), oe

LXL

(b) The Vocal Representation

‘The second means of theatrical representation consists of the use of speech. It relates to the propér musical notes (कछ) voice registers (sthana), piteh of vowels (varna), intonation (kak), speech-tempo (Jaya) to be used in reciting or declaiming a passage for the purpose of evoking different Sentiments (vasa) in the spectators. For cxample to call forth the Comic and The Erotic Sentiments a passage should be recited with the Madhyama and the Pajicama notes, and for the Heroic and the Marvellous Sentiments the Yadja and the Rsabha would be the suitable notes.

To call a person staying at a distance the voice should proceed from the head register (tras) and when he is at a short distance it should be from the chest (wras), and for calling a man at one’s side the voice from the throat register (Rantha) would be proper (XIX. 43).

For any speech with the Comic and the Erotic Sentiments the prevail- ing pitch would be Udatta (acute) and Svarita (circumflex) while in the Heroic, the Furious and the Mervellous Sentiments it should be Udatta and Kampita.

In the Comic and the Erotic Scntiments the speech-tempo should be medium, in the Pathetic slow, and in the other Sentiments a quick tempo is appropriate (XIX. 59).

Besides the above aspects of speech, close attention was to be given in observing rhythm and cadence. And the metrical character of any passage in verse was to be fully expressed in its recitation or declamation. For this propose the Natyasastra devotes nearly two full chapters (XV, XVI) which discuss prosody and allied topics.

(c) The Costumes and Make-up

One important element in theatrical representation now-a-days is the various stage appliances such as, painted scenery, costumes and make-up However able the actors aud actresses might be in delivering the speeches assigned to their roles, without being placed against properly painted scenery and without having proper costumes and make-up, by their acting and delivery alone they cannot create that kind of stage-illusion which is necessary for the succcss of a dramatic production. But in the ancient Indian stage there was no painted scenery. Hence the actors had to depend a great deal upon costumes and make-up. By the term Aharyabhi- naya the Hindu theorists understood these two items (XXIII)..

Though painted scenery is considered indispensable in the modern, theatre, the ancient Indians having a considerably different conception of the drama, did not require its aid for the production of a play. The wall that separated the tiring room (mepathya) and the stage (raingapitha) together with the screens covering the two doors connecting the stage aud the tiring room, served as the beck-ground to show off to advadtage the

LXII

figures of the performers. And these, the wall and the screens, possibly did not contain anything other than the usual decorative designs. This simplicity in the character of the scenic apparatus was a nacessery con- comitant of the peculiar technique of the Hindu drama, and its cause may be looked for in its early history. The introduction of magnificent scenery appears to be a later development in the history of drama. Similarly the back scene of the Shakaspearcan stage consisted of a bare wall, and anything in the way of spectacular effect was created by the movements and grouping of actors

The production of an impression by means of painted seencry would have been alien to the taste of the ancient Hindus who were morc or less conscious of the limitation of realism in their various arts. In order to make the spectators visualise the place and time of the dramatic story in hand, the Hindus had a different device. Numerous descriptiqus of place and time composed in rhythmic prose and verse, which are scattered over the classical Hindu plays, served very efficiently indeed the purpose of painted scenery. When properly read or sung, these passages very easily created an illusion of the place or the time described. The elaborate description of Vasantasena’s magnificent reisdence in the Mrcchakatika was caleu- lated to call up vividly its picture before the mind’s eye. The same thing may be said of the grand description of the Dandaka forest in the Uttararamacarita, This device of making a seene lively, has been utilized by Shakespeare also. In appreciation of his very beautiful des- cription of place and time, one critic says “The plays are full of such des- criptive passages as can nullify the achievements of decorators and mechanics.” It has already been mentioned that in the Shakespercan stage too painted scenery was unknown.

There being no scenery of any kind in the Hindu theatre which made no effort at realism, the spectators were required to use their imagination to the utmost. The demand on the spectator’s imagination made by the ancient Indian producers of plays was further testified by their rules of conventional Zonal division (kaksa-v1bhaga) of the stage (XIV. 1-15). Some of these are as follows :

A Zone might change with the actor walking a few steps over the stage.’ Any ancient Hindu play will furnish numerous pxamples of this convention. For example in the first Act of the Sakuntala the king appears for the first time at a distance from Kanva’s hermitage, but shortly after- wards he enters it by simply taking a few steps over the stage, looking around and saying. “This is the entrance of hermitage and let me enter it”.

By the same kind of convention the inside and outside of a house was

* Due to this kind of convention, scenes of the Hindu plays wore not clearly separated as thay are in a modern drama. This puazled F. Hall who says :

ता

simultaneously presented.* The rule relating to this was as follows: According to the Zonal division, those who entered the stage earlier should be taken as being inside [a house] while those entering it later are known to be as remaining outside it. He who enters the stage with the intention of seeing them (ie. those entering earlier) should report himself after turning to the right. To indicate going toa distant locality onc is to walk a good few steps over the stage and to indicate going to 9 place near by, a short walk only is needed, while a walk of medium duration will indicate going to a place of medium distance, But in case a person leaves one country and goes to a distant land, this is to be indicated by closing the Act in which such an event occurs, and mentioning again the same fact in an Explanatory Scene at the beginning of the next Act.

An exampld of some of these conventional rules occurs in the ninth Act of the Mrechakatika where Sodhanaka appears first as being at the gate of the court of justice and enters it by making a pantomimic move- ment; then again he goes out to reecive the judge and re-enters, the court- room after him by simply walking over the same stage. And when the judge has started work, Sodhanaka again goes out to call for the complain- ants. This going out also consists of actually walking a few steps over the stage.

Though painted scenery was not in use in the Hindu theatre objects like hills, carriages, acrial cars, clephants etc, were represented on the stage by suggestive models (fasta) of these. According to the Natyasastra the model works were of three kinds, viz. sandhima which was made up of mat, cloths or skins, wrapping cloth, or other materials wrapped round something, and ०0/४८ which was a mechanical contrivance of some kind From Dhanika, the commentator of the DaSaripa (II. 67-58), we learn about a model-work of an elephant for the production of the Udayana- carita, and the Mrechakatika owes its name to the toy cart which plays an indispensable role in the story-

(d) The Temperament

The fourth or the most important means of representation is the Temperament (sa#/va) or the entire psychological resources of a man (XXIV), The actor or the actress must for the time being feel the States that he or she is to represeat, and छण] then will the Sentiments irelated to them follow. This kind of reprsentation was indispensable for

: expression to various delicate aspects of men’s and women’s motional nature.

So far as is known, Hindu dramas have alwayé been parted into acts ; but never ve they had scenes, Itis somewhat to be wondered at, that the Hindus, wi h their ordinate love for subdivision, should havo left those univented. (Introduction to asarupa, pp. 28-29. * Seenote 2 above. 7

V. Literature on the Ancient Indian Drama 1. The Early Writers

Stlalin and Kyéaéva. Panini (circa 500 B.C.) refers (IV. 3.110-111) to the Natasiitras of Silalin and Kyaéva, As the works of these two authors have perished beyond recovery we are not in a position to have any exact idea about their contents, But Lévi and Hillebrandt have taken them to be manuals for actors (मढ) though Weber and Konow have con- sidered these to have been sets of rules for dancers and pantomimists, and Keith has accepted their view. Konow further thinks that the treatists of Silalin and KySa4va were absorbed in the body of the Natyasastra (ID. p. 1)

2, The so-called sons of Bharata |"

After Silalin and KySaéva come the writers whose names have been included in the list of the one hundred sons of Bharata, given in the extant version of the Natyadatra. (J. 26-22). Among these Kohala, Dattila (Dhirtila), Salikarna (Satakarna), Badarayana (Badari), Nakhakutta and Aémakutta have been referred to and quoted by later writers as authorities on dramaturgy and histrionies. Besides these, Vatsya and Sandilya have been named as authoritics on drama by some writers. Such references and quotations are our only source of knowledge of them and their work.

(a) Kohala Among the writers on drama who wrote after Silalin and Kréasva, Kohala seems to be the most important. In the extant version of the Natyagastra (XXXVI. 63), it is given in the form of a prophecy that Kohala will discuss in a supplementary treatise all those topics on drama that have not been touched by Bharata. From quotations of his works made by Abhinava' and another commentator,’ as well as from their references to his opinion, it appcars that Kohala wrote on dance and dramaturgy as well as historionics and music.

(b) Datta, Sandilya, and Vatsya, Dattila seems to be identeal with Dantila or Dhirtila mentioned in the NatyaSastra (I. 26), Abhinava too quotes from one Dattilicdrya® and it is likely that he is not other than this Dattila. From these quotations it appears that he wrote on histrionics and music. Sandilya and Vatsya montioned in the Natyasastra (XXXVI. 63) along with Dattila (Dhtrtila) are to us nothing but mere names. It is possible that they were writers on somo aspects of drama and theatre,

* Ag I, pp. 173, 182, 183-181; IL p. 26, 55, 130, 193, 142, 146, 148, 161, 155, 407, 416-417, 421, 434, 438-439, 413, 452, 459; Le’ Ma. p. 413, 436, 496, 521, 680.

+ BhP. pp, 204, 210, 236. 245, 251,

* Ag. . p. 205, Besides this Ag. quotes and refers ४3 Dattila no less than 14 times while comenting on chapter on music, Sea Do's Ms. pp. 544, 573, 578, 580, 583, 588, 690, 624, 625, 628, 633, 633, 640, 642, 644, 650, 655. Sce also Kutta sl, 123,

LXV

` (९) Satakarns ( 1/0 1117 Siltkarna), Satakarni as a proper name 18 found in inscriptions from the firstcentury ए. €, to 149 4, C. Hence it is possible (though not quite certain) that Satakarni the writer on drama flourished about the first century A.C.‘ Like kings in later times who were sometimes found to take interest among other subjecta in drama and poetics and to write treatises on them, this Satakarni might well have been a king or a person of royal descent. From the quotations made by later writers from him it appears he wrote on dramaturgy,

(५) Asmakutla and Nakhakutta. These two writers from their पभा appear to have been contemporarics, probably belonged to the same locality. Sagarandndin® and Visvanatha’ quote from Nakhakutta, and Sagara only is,known to have quoted from Asmakutta®, From these quotations it appears that ASmakutta and Nakhakutta wrote on dramaturgy. द ध

(©) Badariyana(Bidart). Sagara quotes from Badarayana twice® and possibly names him once as Badari, and from the extracts quoted it seems that this early writer discussed dramaturgy,

3, Samgrahakara

Abhinavagupta once mentioned the Samgraha and onee the Sam- grahakara.'° In the Natyasistra (VI. 3, 10) itself also one Samgraha has been mentioned. It seems that the reference is to the identical work. From these facts it appears that the work might have been a compendium treating of dramaturgy ag well as histrionics,

4. The Present Text of the Natyasastra (circa 200 A.C.).'! 5. Medieval Writers on Drama

(a) Nandi (Nandtke3vara) Tumburu Visakhia ad Cariyana. Besides the writers mentioncd above Abhinava and Saradatanaya refer to Nandi or Nandikeévara'? and the former also names Tumburu?® and Viéakhila'‘ with oceasional reference to their views or actually quotations from them, and Carayana has onee been quoted by Sagaranandin.?*

(b) Sadasiva, Padmabhii, Drauhini, Vyasa and ‘Aijaneya.

Solect Inscriptions, pp. 191-207. NL. 1101-1102, Rucipati’s Comm. on AR. p. 7. NL. 2768-2769, 2304-2905. 1 ओ). 294, Nakhakuéfa has also beon mentioned by Bahurvpa in his Comm. on Dasarupa (Indian and Iranian Studies presented to D. Ross, Bombay. p. 201), p. 201 fan.

eee

* 83, 437. 2766-2767, 2774-2775. ° NL. 1092-1094, 2770-2771,

१० Ag. II. pp. 436, 2770-277], 11 See below sections VI. and ए,

५१ Ag. 1. ए, 171, 708 Ms. p. 559. This Nandikesvata may be identical with the author of the AD. ts Ag. I. pp. 165.

14 Ag. I, 2. 199 also De's Ms. pp. 547, 564, 573, See also Kuita, sl. 123. ५५ NL, 362-263,

I

LXVI

Abhinava and Saraditanaya once refer to Sadasiva’® while some writers on drama, such as Padmabhi,’? Drauhini,® Vyasa!® and Sijaneya'® have been named by Saradatanaya only. But we are not sure whether they were really old authors or these names have been attached to some late treatises to give them an air of antiquty.

(c) Katyiyena, Rihula and Garga. These three writers, quoted by Abhinava and Sagara may be counted among the medieval writers on on drama. From the available extracts from his work Katyayana*! seems to have been a writer on dramaturgy. Rahula has been twice quoted in Abhinava’s commentary, and Sagara?” has once referred to his view.7* From these it appears that Rahula was a writer on dramaturgy as well as histrionies. Garga as an authority on drama has been mentioned by Sagara- nandin.74 Inthe absence of any quotation from him we cannot say what exactly he wrote about- ^

(व) Sakaltgarbha and Ghantaka. Abhinava mentions among others the names of Sakaligarbha?® and Ghantaka.?@ Of these two, Ghantaka seems to be a contemporary of Satikuka, and as for, Sakaligarbha, we have no definite idea about his time. From the references to their views it appears that they wrote on dramaturgy.

(c) Vartika-kira Harsa. Abhinava once quotes from the Varti- kakrt?? and once from the Vartika®® and next time from the Harsa- vartika,?® and besides this he onee refers to the views of the Vartika- kari.®° Sagaranandin and Saradatanaya refer to one Harsavikrama®! or Harsa.*? It seems possible that they all referred to the same author, and the name of the author of the Vartika was Harsa or Harsa-vikrama- From these quotations and the references it appears that this Vartika was an original treatise on dramaturgy and histrionies.

(f) Matrgupta, Matrgupta has been taken to be a commentator of the Natyasastra by Sylvain [दए ‘Though this view has been aceepted by authors who have written later on the subject,®* from the metrical extracts’> made from his work by some commentators it appears

16 BhP. 152, DR. IV. 38-3), " BH. p. 42. १५ BRP, p, 239, 1 0.४, १० Soe noto 10. ° NL, 1484-1485. Ag. IL pp. 245-246. + Ag. 1. pp. 115,172, NL. 2873-2175. NL, 3225, +4 NL, 9296,

*० Ag. 1]. p. 452. Kavi thinks that Sakaligarbha = Sakaleya= Udbhata. * Ag. 11. ए. 436. ग Ag. 1. 0. 172. This Vartika seams to have been in original work like Kuma-

पाः Slokavartika written in verso, 18 Ag. 1, p 174, 2° Ag I. p. 207 9180 De’s Ms, p. 545, *० Ag. I. p. 31. at NL, 3225. ss BRP. 233, 4 Lo Theatre indien p. 15.

१५ 6. £. Skt. Poetics, Vol. (p. 32-33)

>+ A.dy pp. 2, 5, 7,8,9, 13 15, 110, 126, 230, Ni. 102, 314-316, 450-471, 534, 1186 (?), 807. p,234,

LXVII

that he composed an original ‘work on the subject. It is probable that in this he occasionally explained in prose the view expressed by the author of the NatyaSastra.*® Interpreting in this. manner one can understand the words of Sundara-migra, who, commenting on Bharata’s definition of the Benediction (#andi), remarks that ‘in axplaining this Matrgupta said ete’.?? About the time of Matrgupta, we have no sufficient evidence. All that can be said is that, Abhinava quotes from his work ००९९१४४ and hence he “was earlier than this great well-known commentator, Besides this Sagaranandin, who is possibly earlier than Abhinava, names Matrgupta aloig with old writers such as Aémakutta, Nakhakutta, Garga, and Badarayana (Badari);*® hence it appears that he was not a late writer.

From the* meagre information available about him scholars have identified him with the poet of that name living during the reign of Harsa- vikramaditya of Kashmir who secms to have been the author of a work on drama called Vartika. This would roughly place his work at the end of the 4th century A.C. or in the beginning of the 5th.4” From the extracts made from his works it appears that wrote on dramaturgy and music.

(£) Subandhu, Saradatanaya refers to one Subandhu who wrote on dramaturgy.‘’ If it is possible to identify him with the famous author of the Vasavadatta, then he may be placed roughly in the 5th century A.C,

(h) Zhe compslers of the Agnipurina and the Visnudharmottara, The Agnipurana treats of 2a/ya, mrtya, and rasa, but this treatment depends considerably on: the NatyaSastra. There is literal borrowing from this work as well as parapharases of some of its metrical passages in this Purana. This portion of the Agnipuraina is usually placed after Dandin (cirea. 7th century)? The Visnudharmottara too treats of 109, nalya and abhinaya, und this treatment too is dependent on the Natyaéastra and does not appear to be earlier than the 8th century.

6, Late writings on Drama

(a) Dagariipa. The Dagartipa (Dagartipaka) of Dhanafjaya was composed in the last quarter of the 10th century A.C. during the reign of पण) (Vakpatiraja, I) the king of Malawa. This work, as its name implies, treats of ghe ten principal forms of dramatic works (rapa) which constitute the subject-matter of chapter XX of the NatyaSastra, but it

*५ For example Sagara, (NL. 684) discusses Matrgupta’s view in his compi- lation which is written in verse and prose. 1t seems that this author was his model.

** Skt. Pootics Vol, I. pp. 102-103 °

*५ Ag. 098 Ms. p. 848. Dr. 8. K. Do thought that Matrgupta was unknown to Ag. (Skt. Poetics, Vol. {, p. 33)

* 966 note 23 above. 4° Keith, Skt, Drama, ए, 291.

+" BhP. 2, 238, 49 Skt. ६००68, Vol. I. ए, 102-103,

पा

actually brings in a few other relevant matters scattered over other parts of this comprehensive work.

Any careful student of the Natyasastra will casily discover that Dhanadjaya in restating the principles of dramaturgy in a more concise and systematic form has carried too far the work of his abridgment and left out quite a number of important matters: The special stress which he lays on the literary aspect of drama by his exclusion of its histrionics and other technical sides, very clearly indicates the general decadene of India’s aesthetic culture at the’ time. With his professed reverence for the rules of the Nityadastra (ascribed to Bharata), he seems to have mis- understood the aims and objects of its author who composed his work for the playwrights as well as the producers of plays.‘* ‘

But whatever be its limitation, the Dasaritpa, and its commentary Avaloka without which it was only half intelligible, attained in course of time a wide popularity and gradually superseded the Natyasistra which seems to have become very rare with the passage of time. And the Dafaraipa so thoroughly supplanted other dramaturgic works as cxisted before its time, that with the exception of the Natyasastra it is the most well-known work on the subject and very frequently drawn upon by the commentators of plays as well as later writers on dramaturgy like Visavanatha.

(b) Natakalaksana-rainakosa. Slightly earlier than the DaSartpa or contemporaneous with 0५५ is the Natakalaksana-ratuakoéa (briefly Natakalaksana) of Sigaranandin, ‘Till about ४ quarter of a century ago our only knowledge of the work consisted of a few quotations from it in different commentaries. But in 1922 the late Sylvain Lévi discovered its Ms. in Nepal and published a report on its contents and other relevant matters (Journal Asiatique, 1922, p.2I0). Since then the work has been carefully edited by M. Dillon and published (London, 1987). Just like Dhanaiijaya, Sagaranandin too discusses in his Natakalaksana, dramaturgy in detail and mentions only incidentally certain topies connected with histrionics, But unlike the DaSariipa the Natakalaksana docs not treat exclusively of dramaturgy, but refers to histrionics whenever necessary. Though the author professedly depends ‘on no leas than seven different authorities such as Harya-vikrama, Matygupta, Garga, ASmakutta, Nakha- kutta, Badari (Badarayana), and Bharata (the mythical author of the Natyasastra) yet his dependence on the last-named one seems to be the greatest. A large number of passages have actually been borrowed by him from the same.** Besides these borrowings the extent of Sagaranandin’s

+" 4. Lp’ +? See R. Kavi, ‘Date of Sagara-Nandin’ in Indian and Iranian Studies presented to 7, Ross. Bombay. 1939, pp. 198ff, ५५ Seo NL. pp 14144,

LXIx

dependence on the Natyaéastra is apparent from his echoing of the numerous passages*® of the latter.

(©) Natyadarpana. The Natyadarpana’’ of Ramacandra and Guna- candra is the next important work on dramaturgy after the Dagartpa. Of the two joint-authors‘® of this text, who were Jains Ramacandra lived probably between 1100 and 1175 A.C., and he was a disciple of the famous Hemacandra. Ramacandra wrote a large number of works including many plays. But of Gunacandra, the collaborator of Ramacandra, very little is known cxeept that he too was a disciple of Hemacandra. The Natyadarpana which is divided into four chapters, treats of dramaturgy,

This work has been composed in Auustup couplets. Its brevity of the treatment ig comparcable to that of the DaSariipa, and as in the latt r many of its passages cannot be fnlly understood unless a commentary is consulted. Fortunately for us the joint-authors of the work have left for us a very clearly written and informative 21४1 (gloss). It is evident from the metrical text that the authors had access to the Natyagastra and ex- ploited it very thoroughly, And whatever could not be accommodated in the text has been added inthe prose ८८८४ which has utilised also Abhi- nava’s famous vormentary. Besides this the authors have occasionally criticised the views of other writers among whom the author of the Dasa- riipa figures most prominently.®° All this has given the Natyadarpana a unique value and some superiority over the DaSartipa.

(व) Ruyyaka’s Nitakamimimsa. Ruyyaka alias Rueaka,*™ who was a Kashmirian and flourished probably in the 12th century, was a voluminous writer on poetics. It was from one of his works (a commentary of Mahima-bhatta’s Vyaktiviveka) that we learn of his Natakamimamsi a work on dramaturgy. No Ms. of this work has so far been discovered.

(®) Bhivaprakisana. Saradatanaya, who scems to have been a Southerner and flourished in the 12th century, wrote the Bhavaprakasana’ *® which dealt with dramaturgy in greater detail than either the Dagartipa or the Nityadarpana. And his work acquires an additional authority from the fact that Saraditanaya had as his teacher onc Divakara who was the Director of a theatre?! and might be taken as deeply conversant with the theory and practice of Indian drama as it was current in his time. Though Saradatanaya depends much on earlier authors for the materials of his work, yet his approach to the subject is to some extent original. As the name of his work implies, it deals with the “expression” prakiwsa of the

4° Printed out by M. Dillon in the margin of NL.

41 Ed.in ७,60.8. Baroda, 1929. ^° 806 Introduction of ND. p.3.

५ But thoy have also drawn materials from older writers like Kohala, Savkuka and Ag. Seo ND. p. 224. ** See ND. Introduction p.3. १ Skt. Poetics, p. 190M.

** bid. ए. 186, ** Ed. 6.0.8. Barada, 1930, +" श, p. 2 also Introduction, p.6.

LXxX

“State” Ghava). Now the proper expression of the States by the actors according to the Niatyadastra gives rise to the Sentiments (vasa), Hence Saradatanaya begins his work with the description of the States and everything connected with them. Next he passes very naturally to the discussion of the Sentiments, These being thoroughly discussed, he takes up the Heroines of different classes who are the main stay of the Sentiments. The time factor in the plot and the diction of the play which also are means of developing the Sentiments are considered next. Afterwards he analyses the body of the play and its different parts. This brings him to the consideration of the ten major and twenty mifor types of play (rif), and finally of the miscellaneous matters connected with drama and theatre. ‘To avoid prolixity we desist from giving here any detailed account of its contents which include भार possible topics relating to dramaturgy. It may be briefly said that ग Siradatanaya’s treatment of the subject is in many respeets more comprehensive than that of the Dagariipa, the Natakalaksana, and the Natyadarpana. And to attain his object Siradatanaya has frecly referred to the Natyasastra®> as well as the works of carly writers like Kohala,** Matrgupta,>’ Harsa** and Subandhu.®* Besides this he has sometimes mentioned authors like Dhvanikyt, Rudrata, Dhanika, Abhinava, Bhoja and, sometimes referred also to their views and criticised these." All this adds to the great value of his work.

(f) Sahtlyadarpana ad Nalekapartbhisa, Visvanatha Kaviraja, who flourished about the thirteenth century*’ was a poet and a scholar and in this latter capacity he wrote among other things the famous Sahityadrapana which treats all branches of the Skt. literature including drama. It was the sixth chapter of this work dealing with drama on which the early western writers of the ancient Indian drama mostly depended. For his treatment of drama Visvanatha seoms to have utilised the Natya- éastra,®? the Dasartpa®® and its commentary Avaloka®* ag well as the work of Rudrata and others. ४

1/1 Nataksparibhaya is known only in name. But his Rasarnavasudhakara®® also treats of drama towards its end, It seems that no important treatise on drama was written after all these works,

“५० Saradutanaya’s debt to N3 has been pointed out by the editor of his work, ‘ee Introduction of BhP. pp. 61-67. २ see above note1. ** See above notes 33-37.

** 806 above notes 31-32. = +° Sea abeve note 41.

५१ BHP. pp. 175, 179, 95, 150, 327, $2 160, 194, 313, 12, 152, 194, 213, 216, 242, 245, 281. ५ ०१ Skt. Poetics, Vol. 1. pp. 233 ff.

०१ See SD. 281, 306, 221, 503, 517; 537.

** Sea SD, Visvan tha wrongly 9 ascribed to Dhanika what belongs to DR. (ILI. 32-33), This misled some scholars to beliove that Dhanika and Dhananjaya were not different persons. «4 See Skt. Povties. Vol. |, pp. 242 ff.

५५ ¥d, Trivandrum Oriental Sories, 1916, ,

LXXI VI. The Natyasastra’: The Text and its Commentators

1. Its Author

The Natyasastra is commonly attributed to Bharata Muni But Bharata cannot be taken as its suthar, for in the Natyasastra itself his mythical character is very obvious, and the majority of the Puranas are silent about the socalled author of the Natyasastra’, and there is nota single legend about him in any of the extant Puranas or the Ramayana and the Mahabharata. The word Bharata which originally meant ‘an actor seems to have given rise to an eponymous author of the Bharalasastra or the Natasastra (the manual of actors).

2. Its Two Recensions

“Whoever might be the author of the Natyaéastra it is certain that the work itself possesses undoubted signs of great antiquity, and one of these is that its text is available in two distinct recensions. In having two partly divergent rccensions the Natyasastra can well be compared with works like the Nirukta, the Brhaddevata and the Sakuntali The editors of these works have differently settled the claims of their shorter and longer recensions. At first sight the tendency would be to accept the shorter recension, as representing the original better, because claboration would seem in most cases to come later. But opinion is divided in this matter: Pischel regarded the longer recesion as being nearer the orginal*, Macodonell has also given his verdict in favour of the longer reecsion* but he has not ventured to reject the shorter recension entircly as being late, and Lakshman Sarup has definitely suggested that the shorter recension is the (शाला one.’ All these go to show that the problem of the relation between two recensions of any ancient work is not so simple as to be solved off-hand. So in this case also we should not settle the issue with the idea that the longer recension owes its bulk to interpolations.

The text-history of the Natyasistra shows that already in the tenth century the work was available in two recensions. Dhanajijaya the author of the Dagaritpa quotes from the shorter recension while Bhoja, who closely follows him, quoted from the longer one.° Abhinava in his commentry of the Natyaéastra, however, used the shorter recension as the basis of his work.” It is likely that the long timc which passed since then has witnessed at least minor changes, intentional as well as unintentional, in the

* Seo [प द. Vol. VI. 1930. pp. 72 ¢ Annals of BORI, Vol. XV, 1034, p. 90 fn. > 866 NS.I. 2-5 note 2. » Kalidasa’s Sakuntala, HOS, p. XI.

+ The Brhaddevata, HOS. Vol. I. p. XVITI-XIX.

* Introduction to the Nighantu and Nirukta, p. 39.

५ Preface to Baroda ed. of NS, Vol. Lp.& 1 Soe abuve note 6.

LL Hence the problein becomes stil more 1.4.

text of both the reecustons. | | But a careful examination of the rival recensions may sive us some clue

to their relative authenticity. Ramakrishna Kavi who has examined no 1688 then forty Mss of the text, is of opinion that the longer recension (which he calls B.) seems to be ancient, although it contains some interpolation (pointed at by him) going back to a time prior to Abhinava.’ Mr. Kavi, however, does not try to explain the origin of the shorter recension which he calls A. This view regarding the relative authenticity of the longer recension seems to possess justification. Reasons supporting it are to be found in the tests differentating the two recensions, which are as follows :

(i) Chapters XIV and XV of the shorter recension dealing with prosody introduce the later terminology of Pitgala (ra, jaysa, na, and bha ganas cte.) while the longer recension uses terms like /eghu and gure in defining the scheme of metres. °

(ii) The shorter reecnsion in its chapter XV _ gives definitions of metres in Upajati. while the corrosponding chapter (XVI) of the longer recension gives them in Anustup metre and in a different order. Considering the fact that the bulk of the Natyasastra is written in this (Anustup) metre the longer recension in this case seems to run closer to the original work.°

Though Ramakrishna Kavi, has overlooked it, there is yet another point which may be said to differentiate the two recensions. The chapter dealing with the Natyagunas and Alamkaras have nearly forty Slokas differntly worded in the two recensions. These slokas in the longer recension (ch. XVID) are written in the usual simple language of the Natya- gastra while (ch. XVI) in the shorter recension (the अगः) betray a later polish. The opening stanzas of the chaptar (XVI) in the shorter recension are in Upajiiti metre while in the longer recension (ch. XVII) they are in the $loka metre. This points to the earlier origin of the latter for the bulk of the Natyasastra as has been pointed out before is composed in the same metre. Now the shorter recension which appears to be of later origin, docs not seem to be totally devoid of worth. It appears that this has in certain eases preserved what onec existed but arc now missing in the longer recension. The cases in which the shorter recension gives in a different language the corresponding passages of the longer recension may be explained by assuming that the passages in question were probably written from memory of the original in the prototype of the recension.

8. Unity of the Natyasastra

Some scholars have entertained a doubt the unity are authorship of the Natyasistra. They think that there are indications that “it (the

* ® above note 6, * See above note 6,

१. 0.4

१7111711... 1.

before it assumed the present shape...”

The alleged indications may be sumned up as follows

(i) The colophon at the the end of the KM. text of the Natyasdstra. (ii) The mention of Kohala as the future writer on certain topies in the Natyaéastra (XXXVI. 68). (iii) Bhavabhitti’s reference to Bharata Muni, the socalled author of the Sastra, as the Tauryatrika-sittrakara (iv) The mention of the stiéva, the dhasya and the Aarikis as its constituent parts in the Natyasastra itself along with the the existence of Prose passages in it, As for the first alleged indication Dr. 8, K. De has tried to connect the colophon of the Natyasastra (samaptas cayam Nand? Bharata-samgita-pustakam with the chapter on music only.™® He opines that the Nandt;Bharata of the colophon indicates that the chapters on musie (XXVII-X XXIII) are Bharata’s original teaching on the subject as modified by the doctrine of.Nandi. If we could accept the view it would have been easy to believe in the composite authorship of the Natyadistra But this does not scem to be possible for the following considerations

(a) The colophon in question stands at the end of two Mss. copied from the same original and are missing in all the rest of the available Mss,

(b) The word samgifa occurring rarely in the Natyadastra includes according to Sarhgadeva (€, 1300 A.C.) gita (song), vidya (instrumental music) and #rtya or nvifa (dance). Henee the colophon may be taken in relation to the entire text and and not with the chapters on music alone,

(©) Nandiasa writer or authority on samgifa alone has not been mentioned anywheres else,

As for the prediction that Kohala will treat certain topics not disenssed in the Natyasastra, it may be said that there is nothing in it to show that Kohala is later than the author of this treatise. He was in all likelihood a predceessor or a contemporary of his.

The most important of all the alleged indications of the plural mithorship of the Natyasdstra is the third one. The idea that the work was originally written in prose and was subsequently turned into verse, arose probably from a misunderstanding of the word अक, Tn spite of its tradi- tional definition as alpiksaram asandigdham sirvad w8valomukham ete. there is nothing in it to show that the उच must always be in prose. Indeed the Natyadarpana-stitra is entirely in verse, and the Saddharma- pundarike-stitra of the Mahayana Buddhists is partly in verse and partly in prose. In the Mangalacarana élokas of his commentary Abhinava too mentions the extant Natyasastra as the Bharatasittra. Thus on taking the द्र in its oldest sense, the theory of the supposed original prose version of the Natyasastra falls to the ground. The existence of the prose passages in the Natyasastra docs not in the least help this theory, and

"० Skt, Poetics, Vol 1. 9.24, , 1 दष, GOS. Baroda, 1929. J

` LXXIV it may be explained on the assumption that the author found it more con- venient to write certain things in prose. All this will remove the difficulty in understanding the words of Bhavabhtiti who mentioned Bharata as the Siitrakara, । 4. It Scope and Importance

Tt has already been shown what a great variety of topics the Natya- Astra discusses in connection with its principal theme, the dramatic art. In sharp contrast with almost all the later writers on the subject its author treats of dramaturgy as well as histrionics. In justification of this two- fold aspect of this work Abhinava says that ‘it is for the guidance of the producers as well as playwrights’™*. As the drama in any form is primari- ly and essentially a spectacle, laws of its production should be considered indispensable for the playwrights. It is a wellkaown fact that many good literary dramas often get rejected by the theatrical directors because of their construction being found unsuitable for successful and profitable repersentation in the stage. The author of the Natyasastra was evidently conscious about this vital connection between the literary and technical aspects of a drama, and treated of both very elaborately. It is a very unique text dealing with every possible aspect of the dramatic theory and practice. It isno wonder therefore that the Natyasastra was often quoted or referred to in later treatieses on gestures, poctics, music, prosody and even on grammar, besides being often laid under contributfon by commen- tators of diffrent Sanskrit and Prakrit plays. And all the later writers on dramaturgy too depended greatly if not exeusively on this work, and most of them expressly mentioned their debt to the Muni Bharata, the supposed author of the Natyasastra,

5. Its Style and Method of Treatment

In atyle the Natyasaetra differs very largely from all the later writers on drama who professed adherenec to it and formulated their rules in a con- cise manner. Those latter are sometimes so very brief, that without the help of a commentator they are not casily intelligible. Though some passa- ges remain obscure without a commentary or similar help yet the major por- tion of the NatyaSastra is written in a simple language in the Sloka and tho Arya metres, Though composed mainly in verse, a very small number of its passages are in prose. As the work is in the form of dialogue between Bharata, its mythical author, and some ancient sages, it has some similarity with the Puranas. One of the charge, brought against the Natyadistra 18 that it is very diffuse, This is true, On ‘a careful examination of his method of treatment it will be found that the author of the Natyasastra, like ‘the famous Panini, treated of the subject analytically, He has taken

Apt pt १ Haas, p, उशा,

LXXxV

up individual topics and considered them in every possible detail and has found it necessary to repeat things for the completion of the matter in hand. This has given it diffuseness. But the adoption of this method was unavoidable in 8 technical work which aimed at completeness. This however may be said to have rendered it difficult to some extent. ‘The difficulty with which we moderns are confronted in studying this ancient work, is however primarily due to its discussing an art which has pratically gone out of vogue for quite a long time. That the text was transmitted through a defective Ms. tradition is no less responsible for océasional difficulties it presents. 6. The Early Commentators

According, to Sarigadeva (SR.I. 1. 9) the commentators who set themselves to the task of explaining or clucidating the Natyasastra are Lollata, Udbhata, Sankuka, Abhinavagupta and Kirtidhara. Abhinava in his commentary refers in addition to Bhatta Yantra and Bhatta Nayaka who may be taken as commentators of the Natyasastra, and quotes from of one,Bhisya and one Vartika. The Vartika however seems to be an independent treaties on drama though the Bhasya an old commentary. But in the absenee of suitable data our knowledge about the date of these commentators and the nature as well as the value of their work, is very inadequate. We are however discussing below what- ever meagre informations may be gathered about them.

(a) Acarya Kirtidhara and Bhasyakara Nanyadeva. Abhinava has referred to Kirtidhara only once.'* But from the special respect shown him by the commentator who calls him acarya, it appears that Kirtidhara was a very early commentator of the Natyasastra, and as such he was possibly anterior to Bhatta Udbhata and hence may be placed in the 6th or the 7th century.'®> And Nanyadeva'® quoted by Abhinava as the author of the Bharata-Bhasya seems to be another carly commentator of our text.

(b) Bhatia Udbhata. Bhatta Udbhata’s'’ opinion has been thrice quoted by Abhinava. As his views were controverted by Bhatta Lollata who flourished in the 8th century it is possible that Udbhata was a person of the carly 8th or the late 7th ecntury.™® Though it has been doubted™® whether Udbhata was really a commentator of the Natyasastra, from the reference to his work by Abhinava we may be fairly certain in this matter.

Ts ag. I. p, 208. Cf. Skt. Poetics, Vol. I. p..29. Ts Cf. Skt. Poetics, I. p. 39.

१° Ho should be distinguished from his namesake who was a ‘kivg off Mithila in tho 12th century (see JASB for 1915, pp. 407 ff)

ts Ag. LL. pp. 70, 441, 451, De’s, Ms. pp. 302.

Ts See Skt. Pootics, I. pp. 76th

Te Skt. Pootio, 1, pp. 37 f.

LXXVI

(©) Bhal(a Lollata. Bhatta Lollata has been referred to as many ug cleven times.?° From these he appears to be a commentator of the Niatyasistra. As the vasa theory of Satkuka was known to have been lavelled against Lollata’s view on ‘the same, this latter writer flourished possibly in the middle of the 8th century.?"

(व) Sri Sahkuka Abhinava referred to Sri-Sankuka or Saikuka ४8 many as fifteen times.?® About his time we scem to have some definite information. For he is probably identical with the author of the poem Bhuvanibhyudaya written during the Kashmirian king Ajitapida whose date is about 818 or 816 A, &,४४

(c) Bhatta Nayaka. Bhatta Nayaka has been referred to as many as six times by Abhinava.’* Besides explaining and elucidating the Natyasastra, at least in part, he wrote on the Dhvani theery an indepen- dent work named the Hrdayadarpana. He has been placed between the end of the 9th and the beginning of the 10th century.?*

(f) Bhatia Yantra, Wrom the single reference to. him in Abhina- va's commentary it appears that Bhatta Yantra?® was a commentator of the Natyasastra. About him nothing more can be said except that he pre- ecded the celebrated commentator.

% Bhatta Abhinavagupta

Among the commentators of the Natyaéastra, Abhinavagupta or Abhi- nava is the most wellknown. But his fame rests also on his commentary on the Dhvanyaloka as well as numcrous learned treatises. on the Kashmir Saiviem. From the concluding portion of some of his books we learn a few facts of his family history, and on the strength of these he las been placed between the end of the 10th and the begining of the 11th century.?7 ` Hrom the Abhinavabharati we learn that his another name was Nysimhagupta.” ®

Although like any other work of this class it professes to explain the text, Abliinava’s commentary is not always an adequate help for परापतद standing the several difficult passages of the NatyaSastra. This drawback might be duc to its defective text tradition, but 9 careful study of it will convince any onc that all its weak «points cannot be explained away on this assumption alone. There are instances of Abhinava’s not being sure about the explanation offered, for example, the word Autapa is once explained as

7° Ag. 1. pp. 208, 266, 279, 296 + IL. pp. 144. 196, 415, 423, 436, 452. {0४ Vis p. 386, + Skt. Poetics. Vol. f. pp 38-39,

** Ag. 1. pp. 74, 217, 274, 285, 293, 298, 318 ; 11, pp. 411 ; 436, De’s. Me. pp 493, 413, 437, 441, 448, 469.

** See Skt. Pootics, I pp 38-39

** Ag. 1. pp. 4, 26, 278, LI, p. 298, Des MS Pp. 506, 508,

** Skt Poetics, I. pp. 30ff. १ 4, [, p, 208,

११ Skt. Poetics, L. pp. 117४; ११० Seo Ag. De's, Ms. pp. 428, 611.

LXXVII

‘four kinds of musical instruments’** and next as ‘a group of singers and players of musical instruments’®* and then again as ‘four of musical instru- ments’,®* while explaining the maftavarani he gives four different views?” and does not give speeial support to his own preference. Besides this, his explanation in some cases seem to be fanciful. For example, he oxplains hhanidana as (meaning) ‘also fanning by means of a fan made of palmleaf’.*® This evidently is wrong, for in the same context 2yajanakam ‘fanning’ has been mentioned, and 44andana may better be interpretcd as ‘drawing patterns or designs’.** But such instances are not many. ‘That Abhinava had as the basis of his commentary a defective text of the Natya- astra, is apparent from its published portion, and his text was in places to some extent different from any of the versions that have reached us. It is due to this latter fact that sometimes particular passages of the commentary cannot be connected with any portion of the text (given above the commen- tary) in the Baroda edition. For example, once Abhinava writes “here ave four ca-karas’”’,*° but in the text indicated by the pratika two ci-kuras only are available. And curiously enough a part of this text quoted clsewhere®® in the commentary corroborates the available reading of the text. In another place of Abhinava’s commentary we have the word alambhana explained, but we look in vain for it in the test.27 The same is the case with azyaltreka and Ggama occuring in the commentary later ०४.१४ And some responsibility for its reduced usefulness must be ascribed to the fact that Abhinava had his commentary based on an imperfect text of the Natyasastra.

There is still another reason due to which Abhinava’s work docs not prove to be quite adequate for our need. Itis probably because he wrote the commentary with a view to help scholars of his time, whose knowledge on many things relating to the Indian drama, theatre and gencral literature he could easily assume, his commentary sometimes falls short of our needs.

But in spite of these limitations Abhinava’s work has its value. Whenever he has to explain any theory or problem concerning the dramatic art or general aesthetics, he does it very exhaustively by quoting all possible views on the same and often cites examples from a vast number of dramatic and other works some of which have perished. Often he sums up the discussion in a masterly fashion. That he was a voluminous writer on the abstruse philosophical topies gave him some facility in handling such matters) But, for the purpose of reconstructing the theory and practice of the ancient Indian drama, such scholastic discussions are often not of much value, though students of Indian poetics and aesthetics will surely

To Ag. Ep. 73. +0 Ag. I. p. 65. st Ag. 1. p. 186. 33 Ag. 1. pp. 64-65. a> Ag. Lp. 41. 34 366 note 2 on IX 61-64 a6 Ag. II. p. 34. १५ Ag. I. p, 203. a Ag II. p dh,

** Ag. II, pp. 97, 225.

१.0 ® ¶ ८.4 be profited by their perusal. But it must be said of Abhinava’s commen- tary that it gives condiderable help in understanding some difficult passages of the very old obsolete text of the Natyaéastra, and for this we should be genuinely greatful to him.

VII. Data of India’s Cultural History in the Natyasastra

Besides giving all sorts of information relating to the dramaturgy and histrionies as well as the allied arts of dance and music, the Natya- Astra includes considerable other materials for the cultural history of India. The most important among these will be discussed below under their several heads.

e

1. Language

The Natyasastra gives some description of Pkt. (XVIII. 1-25) and examples of Dhruva songs in Pkt.(XXXII). [rom these materials it seems that the Pkt. of the NatyaSastra lie mid-way between the Pkt. of the classical dramas and that of Asvaghosa’s plays. Besides this there oceur in this work (XVIII. 44, 48) some references about the, nature of languages used by the ancient tribes like the Barbaras, Kiratas, Andhras, Dramidas, Sabaras and Candalas. Thare are besides other interesting matters relat- ing to the language used by men of different professions and status in life.

2. Literature

In addition to Prakrit verses given as examples of Dhruvas, the Niityasiistra cites numerous poctical stanzas in Skt. as cxamples of the Benediction and of the different metres (ए, 108-112, 130-131: XVI). These are very carly specimens of the ancient Indian literature. It is on the testimony of these which are free from the artificiality of the later classi- cal poetry, that P. Regnaud placed the Nityasastra about the beginning of the Christian era (Introduction to Grosset’s od. of the NS. ए. VII-VIII). The NatyaSiastra contains also the earlicst available discussion on figures of speech (a/amkara), and the method of criticism based on the theory of Sentiments (rasa) which became very popular amongst Indian scholars during the medieval times.

3. Art

In the Visnudharmottara (II. 2. 4) it has been ‘said that the canons of painting are difficult to understand without an acquaintance with the canons of dancing. Now the Hindu drama as we have geen before depends a great deal on dance which is in fact its mainstay. The same work similarly conne¢ts the canons of painting with the canons of image-making. Thus the three arts being connected with one another, the Natyasastra receives an aditional importance. This view is justified by the fact that the Nafyasastra desoribes various male postures (अक) such as Vaignava,

LEXIE

Samapada, Vaiéakha, Mandala, Alidha and Pratyalidha (XI. 50-71), and female postures (sthana) (XIII. 159-169) such as Ayata, Avahittha and Asvakranta. These and the various gestures described in the NatyaSastra may also be helpful in studying specimens of the ancient sculpture and painting. It should be noted in this connection that the Samardigana- stitradhdra a medieval encyclopoedic work while describlug the rules of making images deseribes (ed. GOS. Vol. IJ. p. 301ff) the hand gestures ote, almost in the language of the Natyasastra.

4. Metrics

Fiftyeight varieties of metre of sama, ardhasama and visama types have been deseribed in the Natyasastra (XVI). All these are perhaps anterior in time to the Chandhah-stitras of Pingala. One important aspect of this description is that the name of the following metres are different in tho NS. eg. Drutavilambita=Harinapluta (NS), Bhujangaprayata = Aprameya (NS), Sriigvini=Padmini (NS), Malini=Nandimukhi (तद), Harini= Vrsabha-cestita (NS), Mandakranta=Sridhara (NS), Prithvi= Vilambita-gati (NS), K usumita-lata-vellita =Citralckha (NS).

5, Poetics

The Natyatastra enumerates (XVII. 48-106) four poetic figur.s (alamkara), ten Gunas and ten faults (dosa) of a composition. In brief these may be called the carlicst writings on pocties. To the theory of ` Sentiment (vasa) and the States (64ava) (VI-VII) also the same remark applies.

6. Costumes and Ornaments

Detailed deseriptions of ornaments, and directions about costumes to be used by characters in a play according to their social status, profession, religious faith, and tribal origin ete. are glven in the Natyasastra (XXIII. 1-67, 110-127). These may throw interesting light on the social life of the Indian people in the remote past.

7. Mythology

The Natyasastra mentions (I-V, XXXII-XXXIV, XXXVI णा merous gods, “goddesses, demigods cte. Classified according to the system adopted by Hopkin in his ‘Epic Mythology’ they are as followss. |

(a) Lower Mythology: Serpent, Birds, Waters. (b) Spirtiés + Pitys, Bhiitas, Rakgasas, Asuras, Daityas, Danavas, Yaksas, Guhyakas. (९) Zhe eight great gods; Tho Sun-God, the Moon-God, the Wind-God, the Fire-God, the God of death, Varuna and Ocean, Indra, the Dikpalas (World-protector). (त) Zhe Host of Spirits: Gandharvas, Apsarasas, Kiama, Aégvins, Maruta, Rudras, Viévedovas, Adityas, (e) Devine “Scers : Brhaspati, Narada, Tumburn, (f) Aarthly Rsis and Personages :

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Bala (deva), Nahuga, Sunatkumira, (g) Zhe Three Supreme Deities Brahman, Visnu, Siva. (h) Lesser God : Kirtikeya. (i) Goddesesses Saraswati, Laksmi, Uma, Parvati, Candika, Siddhi, Medha, Smrti, Mati, Niyati, Niryti. It is probably significant that Gancéa and the Avatiiras of Visnu are absent from this list.

8. Geography. -

In its chapters XIV, XVIII and XXIII the Natyasistra mentions some geographical names such as Anga, Anta (Anti) rgiri, Andhra, Avanti, Arvuda, Avarta, Anarta, Usinara. Odra, Kalinga, Kadmira, KoSala, Khasa, Tamralipta, Tosala, Tripura, Daksinatya, Dramida, Nepala, Paficala, Puli- nda (bhiimi), Paundra, Pragiyotisa. Priméu-pravytti, Plavamga, Bahir- giri, Brahmottara (Suhmottara), Bhargava, Magadha, Madraka, Malav- artaka, Maharastra, Margava, Malava, Mahendra, Mosala, Vanga Vatsa, Vanavasa, Vartika (Martika), Vahlika, Vidisa, Videha, Sttrasena, Salaka, Sindhu, Surastra, Sauvira, Ganga, Carmanvati, Vetravati, Mahen- dva, Malaya, Sahya, Mekala, Kalapaiijara, Himalaya, Vindhya, Bharata.

9. Ethnological Data.

The names of the following tribes ocenr in the Natyadistra Kasi, Kosala, Barbara, Andhra, Dramida, Abhira, Sabara, Candala, Saka, Pallava (Pahlava) and Yavana, From the costumes and colours to he assigned to their body it may be possible to trace them historically,

10, Ars Amatoria,

The Natyasistra mentions Kamitantra or Kimatantra (XXV. 38, 53- 567) and Kamaégastra (XXXYV. 46), But as it divides women into twenty- four classes, and Vatayayana’s Kamastitra into four classes these names do not seem to relate to the Kimastitra which probably comes later, `

11, Arthasastra.

The Nityasastra is of opinion that “The members of the court (न्त stara) should be appointed after consulting the views of Brhaspati who thinks that the following are the qualities required for this office. “They should be always ready for work, alert, free from indolence, undaunted by hard work, affectionate, forbearing, modest, impartial, skillful, trained in polity and good manners, deeply conversant with tho art of argumentation and all other branches of knowledge, and not affected by sexual passion and the like’ (XXXIV-87-90). The word sabhastara which has been translated here as a member of the court, occurs in the Smyti of Vyasa who holds that this officer should hold discussion about morals (dsarmavakya) for tho edification of those who are present (in court). In Mbh 4.1.24, however sabhastiva appears only as a courticr (sabhya, Nilakantha) who is parti- cularly interested in gambling (Jolly, Hindn law and Custom, pp. 287-288),

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The description of the king, the senGpati, the amatya and the priduisdka as given in the Natyasastra (XXXIV. 78-87) might well have been taken from the now lost work of Brhaspati recognised by Kautilya as one of his sources. The Natyaéastra gives besides one interesting information that the inmates of a royal palace included a suataka (KXXIV. 64-69) and that there was besides a functionary named kumiaradhikrta (KXXIV. 76-77). ‘As the definition has been lost, it is not possible to know what his duty was. Can he be identified with the Aumaraimatya mentioned in Samudragupta’s inscription P ° 12, Psychology.

The Natyaéastra seems to be the first in recognizing the twofold importance of psychology in connexion with the production of a play. Its classification of Heroes and Heroines according to their typical mental and emotional states (XXIV. 210ff., XXXIV. 15ff). proves its admission of the importance of psychology on the creative side of the dramatic art; for with the complete knowledge of all possible reactions of different objects and incidents upon such Heroes and Heroines, the playwright as well as actors and actresses could attain the greatest possible success in charac- terisation. On the critical side also the importance of psychology was discovered by the Hindu theorists almost simultaneously. It was realised early that no strictly objective standard of beauty ever existed, and the enjoyment of a theatrical production consisted of peculiar reactions which the art of the playwright as well as that of the actors could success- fully evoke in spectators of different types. It is on this assumption that the theory of Sentiments and States (VI-VID important alike for the criticism of the theatre and the 040८5 lettres has been elaborated by the author of the Natyagastra. Such a view does not allow any kind of dogmatism in the criticism of art and literature, and will make due allowance for the views of people who may widely differ in their tastes because of their varying cultural equipment.

VIII. The Date of the Natyasastra

More than sixteen years ago, a careful investigation of the linguistic, metrical, geographical and ethnographic data, of the evidence to be drawn from the history of poetics and music, of the KamaSastra and the Artha- 4astra, and from inscriptions the present writer came to the conclusion that the available text of the Natyasastra existed in the second century after Christ, while the tradition which it recorded may go back toa period as early as 100 B.C. (The Date of Bharata-Natyasastra’, in the JDL. Vol. XXV, 1989) Since this conclusion was made, a more intensive

प For a bibliography on the Date of the NS. see this paper p. 1, K ~ +

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study of the text as well as accession of fresh data has confirmed the writer’s belief in its soundness. ‘These additional materials are being discussed below.

1. The Geographical Data

Geographical names occur in the Natyasastra (XIV. 36ff.) mostly in connexion with pravrttzs or Local Usages which seem to be a later con- ception and not at all indipensable for understanding the theatrical art as explained in the Natyasastra. In fact the authors of the DaSartpa and the Natakalaksana, who spcak of the ए are absolutely silent on pravrtiss which are connected with them. Considering the fact that these works depend a great deal on the Natyasastra their omission of this item may be taken as very significant, Geographical names occuring in connexion with the pram tts are found in the Mbh, and some of the Puranas, some of these being almost in the same scquence (see D. © Sircar, “Text of the Puranic Lists of Peoples” in JHQ. Vol. XXI., 1945, pp. 297-814). It seems that some interpolator put them into the text of the Natyasastra, for associating it with all the different parts of India, though the original work was an exposition of the dramatic art as it was practised in the northern India especially in the midland only. Hence the geographical data should not bo used in determining the date of our text.

2. The Natyasastra earlier than Kalidasa

The argument that a particular dramatist who disregards any rule laid down in the NatyaSistra, will be earlier than it in time, will reverse the accepted chronological relation between the Natyasastra and Kalidasa,

(a) Though the fact has been everlooked by carlicr writers on the subject, Kalidisa too violates the rules of the Niatyaéistra on the following points :

(i) Though the prescribed rule (XIX. 33) is that tho king’s wives should be given names connected with the idea of victory, some of Kali: dasa’s royal Heroines have becu named as follows: Dharini, Irivati (Malavi.) Hamsapadiki, Vasumati (Sak,).

(ii) It is also in disregard of the rule (XIX. 34) prescribing for the handmaids (07८) ) the names of various flowers, that Kalidasa has Nagarika, Madhukarika, Samabhrtika, Nipunika, Candriki, Kaumudika (Malavi.), Parabhrtika, Caturika (Sak.) as the names of handmaids in his play. Vakulivalika (Malavi.) is possibly an exception.

. iii) Though the prescribed rule (XIX. 34) is that. the names having an idea of auspiciousness, should be given to the monials, Kalidasa has Raivataka and Sarasaka (Malavi.) as the names of servants.

(iv) The term svaemin has been used by an army-chict (senapatz) in addressing the king (Sak. ID) in violation of the proscribed rule that it should he used for the erown-prinec (XIX. 12).

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(v) Besides these, Kélidasa has written elaborate Prologues to his plays, though the Natyasgastra does not recognize anything of this kind as a part of the play proper. These as well as the departures from the rules in Bhasa’s play, may be taken as great dramatists’ innovations which as creative geniuses they were fully entitled to.

(b) Besides these there seems to be other facts which probably go to show that Kalidasa knew the present Natyagastra. They are as follows :

(i) Kalidasa uses the following technical terms of the Natyasastra : angahira, ntti, sandht, prayoga, (Kumara, VIL 91), anga-satlva-vacana- Srayam nvttam (Raghu, XIX. 36), patra, praénika, sausthava, apadesa, upavahana, sakha, vastu, mayuri दत (Malavi.)

(ii) Kalidasa mentions the mythical Bharata as the director of the celestical theatre (Vikram, IIT)

(iii) According to Kitayavema, Kalidasa in his Malavi. (1. 4.0 ; 21.0) refers to particular passages in the Natyasastra (I. 16-19 ; Ns (C.) XXX, gaff.)

8 The Mythological Data

In the paper mentioned in the beginning of this chapter the present writer was mistaken in his interpretation of the word mahagriamani which docs not mean Ganapati as Abbinava the reputed commentator of the Natyasastra opines (see notes on III.1-8.). The absenes from the Natyasastra of this ‘deity who does not appear in literature before the fourth century speakg indeed for the great antiquity of this work.

4, The Ethnological Data

The Natyasastra in one passage (KX. 99) names Kiratas, Barbaras and Pulindas together with Andhras, Dramilas, Kasis and Kosalas who were brown (450४4, lit. not white), and in another passage (XVIII. 44) names Andhras and Dramilas together with Barbaras and Kiratas. Apastamba the author of the Dharmasittra who lived at the latest in the 800 B.C. belonged to the Andhra land (Jolly, Hindu Law and Custom, p. 6 and also P.V, Kane, Hist. of the Dharmagastra. Vol. 1. p, 45). Henee it may be assumed on the basis of these names that the Natyasastra was in all likeli- hood eomposed at a time when a section atleast of the Andhras and the Dramilas (forefathers of the modern Tamils) were still not looked upon as thoroughly civilized. Such a time may not have been much after the beginning of the Christian era.

5. The Epighraphical Data

Sylvain Lévi has discovered parallelism between the Natyasastra and the inseriptions of the Indo-Seythian Ksatrapas like Chastana who are referred to therein as उदित aterm wpplicable, according to the Sastra to

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the yuvariija or crowa-prince (I. Ant. Vol. XXXIII. pp. 169). Though MM.P.V. Kano (Introduction to the SD. p. viii) has differed from him, Lévi’s argument does not seem to be without its foree. It may not be con- sidered unusual for common persons who aro intimate with him to show the future king an exaggerated honour by calling him उण u term to be formally applied to the reigning monarch only. Besides the argument put forward by Lévi, there may be collected from the inscriptions other facts too which may incline us to take 200-300 A.C. as the timo of the compilation of the Natyadistra. These are as follows : .

(a) The word gasdkarva probably in the sense in which the Natya- éastra uses it (XXXVI. 76) oceurs in the Junagarh Rock inscription of Rudradaman, 1 (150 A.C,), This also mentions terms, like sausthava and #iyuddka which we mect in the Nityasistra probaly in the samc sense (Junagarh Inscription of Rudradaman I. Sec Select Inscriptions, pp. 172-173).

(b) The respect for ‘Cows and Brahmins’ (go-dradmana) which the author of the Natyagastra shows at the end of his work (XXXVI. 77) has its parallel in the inscription referred to above. And respect for Brahmins also finds oxpression in more than one inscription belonging to the 8rd century A.C. (09, ८४. pp. 159, 161, 165)

(c) The three tribal names Saka, Yavana, and Pahlava appearing in the inscription of Vasistiputra Pulomayi (149 , A.C.) oceur in the same order in the Natyasastra (of. c##., 7, 197,) and NS.

The cumulative effect of all these data scems to be that they may enable us to place the Natyadastra about 200 A.C. the time of these inscriptions.

6. The Natyasastra earlier than Bhasa

Lack of conformity to thedramaturgic rules of the Natyaéastra has sometimes heen cited as an evidence of the antiquity of Bhasa, the argu- ment being that as he wrote before the rules were formulated, he could not observe them. This view however, seems to be mistaken. Wor the rules oceurring in the NatyaSastra cannot, for obvious reasons, be the author's fabrication without relation to any preexistent literature:! 1 the Natyaéastra was written after Bhaea’s plays, its rules had every chance of having been a generalisation from them as well as from numerous other drematic works existing at the time, while the contrary being the ease (1.6, Bhisa being later than the Natyasagtra) some novelties are likely to be

) ए Hall in his Introduction (p.12) to the Dasarvpa says: Atall events, he (Bharata) would hardly have eleborated them (the rules) oxcept as inductions, from actual compositions, we

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introduced by the dramatist in disregard of the oxisting rules, It is on this line of argument that the chronological relation between Bhasa and the Natyéastra, will be judged below.

(a) On no less than three points, Bhisa seems to have disregarded the rules of the NatyaSastra. These are as follows :

(i) The sti¢radhara (Dircetor) begins the plays, though according to the NatyaSistra the s¢hapaka (Introducer) should perform this function (प्र, 167),

7 (ii) In contravention of the rule of the Natyasastra (XX. 20) Bhasa allows death in Act I of Abhiscka.

(iii) In the, Madhyama-vyayoga and the Dittaghtotkaca, Bhasa does not give the usual bharatavukaya (final benediction) and what he gives in its stead, may be an innovation.

Hence it may be assumed that the Natyasastra was completed before the advent of Bhasa,.

(b) Besides this, there seems to be some good evidence in his works to show that the dramatist was acquainted with this ancient work on drama. For example, he mentions ina humorous context the Jester con- founding the Natyasastra (Avi. II 0. 38-39) with the Ramayana. Bhasa’s mention of some techinical terms as well as the acquaintance which he shows with some special rules of the Natyaéastra may also be said to strengthen the above assumption.

(i) First, about the technical terms. They are: sausthava, prastavant, sutradhiva, preksaka, cari, gatt, bhadramukha, hava, bhava, marisa, natakiya, the root patha, ranga.

(ii) The hetaera in the Carudatta (I. 26,38.) says within herself, “I am unworthy of being allowed cntrance into the harem” (abhaini aham abbhantara-pavesassa). ‘This scems to refer to the NS, XX. 54. The expression, “by means of a Nataka suiting the time” (kilasamvadina 0746104) in Pratima. (I. 4. 7) probably points to 18. र्णा. aff.

(iii) ‘The vocal skill of the hetaera referred to by the Sakara (Parasite) in the Carudatta may algo be said to point to the elaborate rules regarding intonation (ake) in the NS. XIX 37-8,

(iv) Besides these, expressions like “the two fect made facile in dance due to training” (artlopadeSa-visada-caranau) and “she represents the words with all her limbs” (ककव vacimst sarvagitrath) in the Carudatta (1.9.0, 16.0) probably relate to the elaborate discussion on dance and the use of gestures in the Natyasastra. ;

On the basis of all these it may be assumed that Bhiga was acquainted with the contents of the-present text of the Natyasastra. Hence

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it may be placed in the 2nd centuary A.C. ic. one century before the time generally assigned to Bhasa’s works. (Jolly, Introduction to AS. p. 10, but according to Konow Bhasa’s date may be the 2nd century A.C. See ID. p. 51).

From the foregoing discussions it may be reasonable to assume the existence of the NatyaSastra in the 2nd centuary A.C., though it must not be supposed that the work remained uninterfered with by interpolators of later ages. Such an interpolation may exist more or less in all the ancient texts. For example, Aristotle's Poetics too, in its received text, has bren suspected to have interpolated passages in it, There are indced interpolated passages in the NatyaSastra and some of these have been pointed out? and a few more may by some chance be diseovered afterwards. But this may not bring down the work as a whole to later times.

* See notes on XVIII. 6, 48; XX. 63, Besides these cases, the seventeen couplets after XV. 101 and the five couplets after XVI 169 are spurious. For these do not give any important information regarding the art of the theatre or dramaturgy and may be merely scholastic additions. The passage on pravrttis XIV. 38-55 may also bo spurious.

THE NATYASASTRA

CHAPTER ONE * THE ORIGIN OF DRAMA

ति Salutation

1, With'a bow to Pitamaha! (Brahman) and Mahegvara® (Siva) I shall® explain the Canons of Drama® (Natyasastra) which were uttered by Brahman.

Sages question.

2-5. Once in the days of yore, high-souled sages such as, Atreya? and others who had subdued their senses, approached the pious Bharata® the master of dramatic art during an inter- mission of studies (anadhyaya). He (Bharata) then just finished

1 (B.G. same). | Pitimaha (the Grand-father) is a Puranic epithet of the Vedic god Brahman. For, the Pitrs (the Fathers) such as Angiras, Bhrgu, Daksa and Marici and others, whose descendants peopled this earth, were their progeny. In the later literature and religion of India, Brahman gradually recedes in the background and practically vanishes. His place is taken by the extra-Vedic Siva, and Visnu in his fullfledged Puranic character,

* Mahedvara (the Great God) is another name of Siva who is originally a pre- Vedic deity. Salutation to Siva along with Brahman, is very rare in Indian literature.

5 By ‘drama’ in this connexion is to be understood any play in its theatrical and literary character. For on this point Ag. (I. p. 7) says that

the NS. is meant for the producer (of a play) as well as the poet (=playwright). कविप्रयोकषुरपेयपरं शालमिति,

2-5 (BG. same). 1 Atreya—There are two Streyas. One is a disciple of Yajiiavalkya (Mbh.) and another that of Vamadeva (Brahma P.) See Vidyalankar, /iveni-kosa, sub voce.

9 Puranas.except the Matsya (24, 28-30) are silent on this Bharata, the authority on the Canons‘of Drama,

2 ` THE NATYASASTRA [1.6.

the muttering of prayers (japa) and was surrounded [$ his sons. The sages respectfully said to him, “O Brahman, how did originate the Naytyaveda® similar to the Vedas, which you have properly composed ? And for whom is it meant, how many limbs does it possess, what is its extent* and how is it to be applied ? Please speak to us in detail about it all®”. ।

Bharata answers.

0. Hearing these words of the sages, Bharata began in reply to speak thus about the Natyaveda :

7-12. “Get yourselves cleansed, be attentive and hear about the origin of the Natyaveda devised by Brahman?. O Brahmins, in the days of yore when the Golden Age ( Keta- yuga)'a passed with the reign of Svayambhuva (Manu), and the Silver Age (7'retayuga) commenced with the career of Vaivasvata Manu, and people became addicted to sensual

3 Natyaveda—The ‘Natyaveda’ according to Ag. is a synonym for the ‘Natyasastra’, and is no Vedie work. He त. p. 4) says: भव तु "are वैदः mefafe समासः भन्धथा भध्यापनासम्मवात्‌,.

५ pramina=cxtent. Ag. takes the word in the sense of proof (praminam atra ni8caya-janakatvam), but he cites another view as well, which takes the word to mean ‘number’ and is as follows: भ्ये तु नान्यगतानां इपकादनां पाठ्याभिनयरतरगौतानां का संख्येति षिभागविषयोऽयं प्रर इयाचचते,

5 From the five questions put in here, itis not to be assumed that the treatment of subjects mentioned will follow the order’of these.

6 (B.G. same).

7-12 (BG. same). 1 The reference here is to the Niityaveda alleged to have been composed by Brahman in about 36000 sofas. It is also believed that, later on a shorter work (in 12000 granthas) was based on this great work and it was in the form of a dialogue between Siva and Parvati. This is considered by some to be the Adibharata or Sadasiva- bharata, The present NS. contains about 12000 granthas and it is supposed to include the views of the authors of the now extinct Natyaveda (composed py Brahman) as well as of the Adibharata. See Preface to NS. (B.) pp. 6-7 On this point Ag (1. p.8) says: एतेन सदाथिवन्रह्मभर तमतवरेयविवैचनेनं ब्रह्ममतसारताप्रतिपादनाय मतवयीसारविषैषमं तदययप्रचैपेन विहितमिदं are,

18 A. K. Coomaraswamy has freely translated 8-17 (The Mirror of Gestures, New York, 1936, p. 16),

-1. 15] THE ORIGIN OF DRAMA $

pleasures’, were under the sway of desire and greed, became infatuated with jealousy and anger and [thus] found their happiness mixed with sorrow, and Jambudvipa® protected by the Lokapalas (guardians of the worlds) was full of gods, Danavas, Gandharvas, Yaksas, Raksasas and great Uragas (Nagas), the gods, with Indra (Mahendra) as their head, (approached) Brahman and spoke to him, ‘We want an object of diversion, which must be audible as well as visible*. As the Vedas are not to be listened to by those born as Sidras, be pleased to create another Veda which will belong to all the Colour-groups® (varna)”.

18. “Let it be so”, said he in reply and then having dismissed the king of gods (Indra) he resorted to yoga (concen- tration of mind)? and recalled to mind the four Vedas.*

14-15. He then thought: “I shall make a fifth? Veda on the Natya with the Semi-historical Tales (कपेः which will conduce to duty (dharma)*, wealth (arthu) as well as fame, will

> gramyadharma—Ag. explains the word differently and as follows : याग्योऽद्तथाख्ाधैजनाकौ फंदेथोवितो wh: खधश्माननुपालनलचगः, :

४ According to ancient Indian geography the carth was divided into seven कक (continents), Jambudvipa is one of them. It ineluded Bharata-varsa or Bharata-varsa, known at present as ‘India’. Vignu ए, (ch. 1-12). See Winternitz, Hist. of Indian Literature, Vol. I, p. 548.

५ On this point Ag. says: इश्छनिति दं गरन्यमिति ब्युत्पतिप्रदमिलधः.

5 This relates to the four classes such as Brahmana, Ksatriya, Vaisya and Sidra, %

18 (B.G. same). 1 Yoga has been defined in Patafijali’s work as cittaurtlinirodkah. Tt however begins with the concentration of the mind.

2 After 13, B. reads one additional couplet. But ©, considers this Passage to be spurious and puts it in the footnote.

1415 (BG. same). 1 In the carly Indian literature the s#hasa alone was considered as the fifth Veda. Scc Chandogya Up. VII. 1f. and 7, and Suttanipata, IJ.7 (sellasutta). Kautilya’s Arthasastra too gives the same position to the क्र, Sce Winternitz, Vol. Tp. 313.

9 On itthasa sce note below.

- > dharma also means virtuo, law and custom ete.

4 THE NATYASASTRA (I. 15-

contain good counsel and collection [of other materials for human well-being], will give guidance to people of the future as well in all their actions, will be enriched by the teaching of all scriptures (éastra) and will give a review of all arts and crafts* (éilpa)”.

16. With this resolve the Holy One (bhagavat) from his memory of all the Vedas shaped this Natyaveda compiled from the four of them -

17-18. The recitative (pathya) he took from the Reveda, the song from the Saman, Histrionic Representation (abhinaya) from the Yajus, and Sentiments (rasa) from the Atharvaveda, [भत्‌] thus was created the Natyaveda connected with the Vedas principal and subsidiary (vedopaveda)!, by the holy Brahman who knows [them] all.

19-20. After the creation of the Natyaveda Brahman said to Indra (lit. the lord of the gods), “Semi-historical Tales (itihasa)* have been composed by me, you are to get them {dramatized and] acted? by gods, Pass on this Natyaveda to those of the gods who are skilful, learned, free from stage-fright and inured to hard work.”

“The word &1/fa is very often synonymous with ala, As the 64 alas enumerated in different works include different arts and crafts, these two words may be translated as ‘arts and crafts’. Ss/pa, however, is some- times to be distinguished from (छत and then it may mean mercly ‘a craft’.

16 (B.G. same).

17-18 (B.G. same), 1 Vedopaveda—the Vedas and the Upavedas ie. the Vedas principal as well as subsidiary. The Vedas are all well-known, and there are at least four Upavedas, one being attached to each of the Vedas. They are as follows: the Ayur-veda-(the Science of Medicine) to the Reveda, Dhanur-veda (the Seience of Arms)—to the Yajurveda, Gandharva-veda (Musical Science) to the Simaveda, and Sthapatya-Sastra (the Science of Architecture) to the Atharvaveda,

19-20 (B.G. same), } Kautilya’s Arthaéastra in its definition of iihasa coumerates purina and ४ as belouging to its contents. An ttivrtta, according to Winternitz, can only mean an “historical event” and Purana probably means “mythological and legendary lore.” ‘Vol. L ए. 818 Pargiter has, however, extracted solid historical facts from some of the

1.95] THE ORIGIN OF DRAMA 5 °

21-22. At these words of Brahman, Indra bowed to him with folded palms and said in reply, “O the best and holy one, gods are neither able to receive it and maintain it, nor are they fit to understand it and make use of it; they are unfit to do anything with the drama}. ।

28. The sages (muni)* who know the mystery of the Vedas and have fulfilled their vows, are capable of maintaining this (Natyaveda) and putting it into practice.”

The Natyaveda and Bharata’s one hundred sons

24. On these words of Sakra (Indra), Brahman said to me; “O the sinless,one, you with your one hundred sons? will have to put it (the Natyaveda) to use”.

25. Thus ordercd. I learnt the Natyaveda from Brahman

extant Puranas (See his Ancient Indian Historical ‘Traditions, London, 1922). According to the native Indian tradition stshasa ig said to be an account of events that occurred in the past, carrying in it instrdctions about duty, wealth, enjoyment of pleasure, and salvation. The traditional Sloka is— ध्माथेकाममोकशायासुपटेथसमन्वितम्‌। शतिहत्तकधायुक्रमितिहासं प्रचचते ॥

The same tradition assigns the position of zézhasa to the Mahabharata the great Indian epic. It is possibly this zhasa that has been connected with the Natyaveda by the atthor of the दकि, Henee it appears that Oldenberg’s theory about the original connexion between epic and dramatic poetry, is worthy of serious consideration. Matyakhyam pancamam vedam setihisam karomy cham (15) seems to be very significant. Ag. (1 p. 18) explains setihasam as ttthasopadesakariipam saprabhedam, Sec Winternitz, Vol. L pp. 100 ff. 819 n, = > See note on 1415 above.

21-22 (B.G. same). 1 It may be tentatively suggested here that the gods represented the primitive Indo-Aryans who. possibly had no drama. On this point see the author’s Pracin Bharater Natya-kala (in Bengali), Calcutta, 1945 p. 60 ff.

93 (B.G. same). ‘The word munt is evidently to be derived from the Pkt, root muna ‘to know’ which is most probably not of Indo- European origin. ¢

24 (B.G. same). ' The Puranas and similar other works totally ignore these one hundred sons of Bharata.

95 (B. G. same),

6 THE NATYASASTRA 1. 95-

and made my able sons study it as also [ learn ] its proper application. Names of Bharata’s one hundred sons

26-89. 1{Names of my sons are}: Sandilya, Vatsya, Kohala?, Dattila’, Jatila, Ambasthaka, Tandu, Agnisikha, Saindhava, Pulo- man, Sadvali, Vipula, Keapiiijali, Badari, Yama, Dhiimrayana, Jambudhvaja, Kakajaigha, Svarnaka, Tapasa, Kedara, Nalikarna‘, Dirghagatra, Salika, Kautsa, Tandayayi, Piigala, Citraka, Ban- dhula, Bhaktaka, Mustika Saindavayana Taitila, Bhargava, Suci, Bahula Abudha, Budhasena, Pandukarna, Kerala, Rjuka, Mandaka, Sambara, Vaiijula, Magadha, Sarala, Kartr, Ugra, Tugara, Pargada, Gautama, Badarayana®, Visala, Sabala, Sunabha, Mesa, Kaliya, Bhramara, Pithamukha Muni, Nakhakutta®, Asmakutta’, Satpada, Uttama, Paduka, Upanat, Sruti, Casasvara, Agnikunda, Ajyakunda,

Vitandya, Tandya, Kartaraksa, Hiranyaksa, Kuéala, Duhsaha, 26-39 (B. same ; ©, 26-38). | B. and G. read some of these names differently. Some at least of the so-called sons of Bharata might in fact have been the authors who wrote on dramaturgy, histrionic art, dance and music ete. Singabhiipala mention the first four. See below notes 2-7.

? Kohala has again been mentioned in NS. (C.) XXXVI. 6. Ag. has referred to his opinion several times and quoted from his work on natya (Vol. 1. pp. 140, 173, 182, 183, 265; Wol. UL pp. 26, 55, 130, 132, 142, 144, 146, 147, 151, 155, 407, 416, 421, 434, 452, 458, 459). Later writers like Damodaragupta, Hemacandra, Sarigadeva, Saradatanaya and Sidgabliipala acknowledge him as an authority on drama and music. (See 8. K. De, Skt. Pocties, p. 25. fin.)

४ Ag. has quoted ४ passage from the work of one Dattilacarya (Vol. I. p. 205). He seems to be identical with this Dattila. See also note | above.

‘ Salikarya is probably identical with Satakarna referred to and quoted in the commentary of the Anargharighava (p. 7. 8९6 Lévi, IL pp. ध, 65) and the Natakalaksana, (p. 47, ed. M. Dillon). Cf, Salivahana =Satavahana,

5 #॥ T (1 Na ‘a ४, & 6 f

i त + Afakalalgayn (pp. 46, 114) refers to and quotes from him.

ध The Nitakalaksaya (pp. 114, 121) refers: to and quotes from. this authority. So dors SD (295).

. The N: te F 1 ( Pp. 4, 19 11 2) fer; by to and ध uotes 7. a aka 1९ a (pp. 4 4, 1] Md 9 a ) re i

oI. 45 J THE ORIGN OF DRAMA 7

‘Jala, Bhyanaka, Bibhatsa, Vicaksana, Pundraksa, Pundranasa, Asita, Sita, Vidyujjihva, Mahajihva, Salaikayana, Syamayana, Mathara Lohitafga, Samvartaka, Paiicagikha, Trisikha, Sikha, Sankhavarnamukha, Sanda, Sahkukarna, Sakranemi, ‘Gabhasti, Améumiili, Satha, Vidyut, Satajaigha, Raudra and Vira.

39-40. [Thus] at the command of Brahman and for the benefit of the people I assigned to my sons different roles suitable to, them?,

Performance begins with three Styles,

41. O‘Brahmins, [ then prepared to give a performance (prayoga) in Which was adopted dramatic Styles (वू) such as the Verbal (/harati),! the Grand (sattruti), and the Energetic (arabhati).

Need of the Kaisikt Stylo

42-43, गा [then went? to Brahman and] after bowing, informed him [of my work] Now Brahman (lit. the yurn of gods) told me to include the Graceful (Kaigili) Style also [in my performance], and he asked me to name materials conducive to its introduction. -

43-45. Thus addressed by the master I replied, “Give me materials necessary for putting the Graceful (/«78ih7) Style into prac- tice. At the time of Nilakantha’s? (Siva) dance I have seen his Graceful Style appropriate to the Erotic Sentiment, and this requires

39-40 (B. same ; ©. 39). ' ©, reads 39 differently.

41 (ए, same ; G. 40). ' The four Styles probably related to four tribes such as Bharata, Sittvata, Kesika and Arabhata. Among these Bharata and Sattvata are wellknown. The remaining two names might have been lost.

42-43 (B, same ; ©. 41). ¬ G om, 42a.

१ pragrhya (=embracing) has been taken to mean “going to’.

43-45 (B. same; ©, 42-440). 1 Siva is India’s traditional god of danee. See M. Ghosh (ed.) Abhinayadarpana, Caleutta, 1984, English Translation, १.1.

8 THE NATYASASTRA [ I. 46.

beautiful dresses and is endowed with gentle: Angaharas? and has Sentiments (rasa), States (Vhava)® and action as its soul,

Creation of Apsarasas for practising the Kaigiki Style

46-47. This Style cannot he practised properly by men except with the help of women.” Then the powerful Lord (Brahman) created from his mind nymphs (apsaras) who were skillful in embellishing the drama', and gave them over to me [for helping me] in the performance. .

Names of Apsarasas

47-50. [Their names? are]: Maiijukei, Sukes, Migrakedi, Sulocana, Sandamini, Devadatta, Devasend, Manorama, Sudati, Sundari, Vidagdha, Sumala, Santati, Sunanda, Sumukhi, Magadhi, Arjuni, Sarala, Kerala, Dhrti, Nanda, Supuskala and Kalabha.

Svati and Narada engaged to help Bharata

50-51. And by him (Brahman) Syati? together with his disciples was employed to play on musical instruments, (lit. drums) and celestical musicians (yandharrw) such as, Narada? and others were engaged in singing songs.®

51-53. Thus after comprehending the dramatic art (natya) which arose out of the Vedas and their [different] limbs, 1 along with my sons as well as Svati and Narada approached Brahman (lit. lord of the worlds) with folded palms and

“Kor aigahiras see NS, IV. 16 ff. Read mrdvangahara for arttinga-in Be २ Wor details on States seo NS, VIL,

46-47 (B, seme ; (६, 44b-45), 1 nat yalankira here may be taken also to mean ni yalankiras nentioned in NS XXIV. 4-5,

47-50(B, 47-50n, द. 46-4»). ' B. and G. read some of the names in a slightly differont manner

50-51 CB. 50b—5 1a, G.'49). ' One Swati has been mentioned in the Visnu ए. Narada is also a well-known Puranic sage. Ho is mentioned ४8 9 musician in Bhagavata and Viyu P. See Vidyalankar. बरहट, seb voce,

9 Ag. thinks gina in this connexio: i i : ष means the playing of stringed , Instruments and flutes, ४ ¢ ४

51-53 (B. 51b-53a, ©. 50-51),

-J. 61] THE ORIGIN OF DRAMA 9

said that the dramatic art (natya) has been mastered, and prayed for his command.

The Banner Festival of Indra and the first production of a play

53-55, On these words, Brahman said, “A very suitable time for the production of a play has come: the Banner Festival? of Indra has just begun; make use of the Natyaveda now on thig occasion”.

55-58. I then went to that festival in honour of Indra’s victory which took place after the Danavas and the Asuras (enemies of the gods) were killed. In this festival where jubilant gods assembled in ‘great numbers I performed for their satisfaction the holy? Benediction (na@ndz) containing blessings with words in their eightfold? aspects (astanga, lit. of eight limbs). Afterwards I devised an imitation of the sitution in which the Daityas were defeated by gods (and), which represented [sometimes] an alter- cation and tumult and [sometimes] mutual cutting off and piercing {of limbs or bodies].

The pleased gods reward Bharata’s party 58-61. ‘Then Brahman as well as the other gods were pleased

with the performance and gave us all sorts of gifts! as a token of joy that filled their mind. First of all the pleased Indra

53-55 (B. 538b-55a ; G. 52-53), | This festival occurred on the twelfth day of the bright half of the moon in the month of Bhadra. It was avery popular festival in ancient India. Asvaghosa mentions it in his kavyas, Maha, a part of the compound dhvaja-maha is simply a Pkt. form of the word makha meaning ‘sacrifice’ ; cf. Jndra-makha,

55-58 (B. 55b-58a ; ©. 54-56), |! Veda-sammita (veda-nirmita, G.) means ‘like the Veda’ 7. ८. ‘holy’.

> The eight aspects of words are noun (sama), verb (20८2), particle (nspata), prefix (spasarga), compound word (saméasa), secondary

suff (¢addhita), euphonic combination (काद), nominal andsverbal suffixes (21114607). ३९९ N&. XV. 4.

58-61. (B. 58b-61, ©. 57-59) 1 Making gifts to dancers, singers and actors at a performance, is a very old custom in India. Such gifts were made by rich members of the audicnee, while the common people enjoyed

2

10 THE NATYASASTRA [1.61

(Sakra) gave his auspicious banner, then Brahman a Kutilaka? and Varuna a golden pitcher (bhyngara), Siirya (the sun-god) gave an umbrella, Siva success (siddhi), and Vayu (the wind- god) a fan. Visnu gave us ४ lion-seat (simhasana), Kuvera a crown, and the goddess Sarasvati gave visibility as well as audibility®.

69-63. > The rest of the gods, and the Gandharvas, the Yaksas, the Raksasas and the Pannagas (Nagas) who were present in that assembly and were of different birth and merit, gladly. gave my sons speeches suited to their different roles [in the play], States (bharu)2, Sentiments (rsa), [good physical] form, [proper] movement [of limbs] and strength as well as beautiful ornaments,

64-65. Now when the performance relating to the killing of the Daityas and the Danavas began, the Daityas who came there [uninvited] instigated the Vighnas (malevolent spirits) with Viru- paksa as their leader, said, “Come forward, we shall not tolerate? this dramatic performance.”

66. Then the Vighnas (evil spirits) together with the Asuras resorted to supernatural power (maya) and paralysed the speech, movement as well as memory of the actors.

the performance without any payment. This old custom is now dying out under the influence of modern theatres which realise the price of the enter- tainment beforchand by selling tickets.

2 Kutilaka—Ag. takes it to mean ‘a curved stick fit to be used by the Jester’, But he does not seem to be supported in this by the old dramatic literature. In Kalidisa’s Malavi. however occur bhuangama- heulila-danjakattha and danlakattha (vd. Pandit, Bombay, 1889, IV. 150, 160). But it is not clear from the context whether it belonged ४ the Jester. The NS, XXII 167-170 describes probably. this danfakastha, but does not connect it vith the Jester,

४ From now on the numbering of couplets ix wrong in B,

62-63 (B. same ; G. 60-61). ` B. reads 654 ay दतवसः प्रहासं सत्‌तु्रभ्यौ दिवौकसः, * For details on States sen NS. VI, ;

64-65 (8. same ; 0, 62-63). 1 na keamiryimahe (neltham वधात mahe, B). ;

66 (ए. same ; ध. 64),

-I. 78 ] THE QRIGIN OF DRAMA 11

67-68. Seeing this injury to them,! Indra sat in meditation to ascertain the cause of break in the performance and found out that, surrounded on all sides by the Vighnas (evil spirits), the Director (st%tradhara) together with his associates (actors) had been rendered senseless and inert.

69-70. Then with eyes turning in anger he rose and took up that best banner staff (d/vaja), brilliant with all the jewels, set in it. With this Jarjara Indra beat to death the Asuras and the Vighnas who were hanging about the stage {for mischief]. °

71-73. The Vighnas together with the Danavas having been slain, all the gods saids in joy. “O [Bharata,] you have got a divine weapon with which all destroyers of a play have been made jarjara (beaten to pulp). Hence it will have the name of Jarjara.*

73-75. The remaining enemies too who may come to do violence to [actors] will fare like this.” To the gods, Indra then said with pleasure, “Let it be so: this Jarjara will be the protection of all actors.”

75-76. (And afterwards], when the play was ready and Indra’s festival continued in full force, the remaining Vighnas began to create terror for the rest of the actors.

76-78. Having noticed these attempts caused by the insult of the Daityas? I, along with my sons, approached Brahman [and said), “O the holy one and the best of gods, the Vighnas (the evil spirits) are determined to destroy this dramatic performance ; 80 enlighten me about the means of its protection.”

67-68 (B. same ; G. 65-66) | ¢atra tesam sah (sttradharasya, BG.) 69-70 (B. same ; ©, 67-68). 71-78 (B. 71-72, 78b ; ©. 69-70, 719). ` This is evidently an instance of folk-etymology. We read 720. as, ararfawr सिनः wa पैन ते ade: (C) but B, G, webtereaar येनैते दानवाः wat: and adds one hemistich as fullows:— aerate ति भिन्नाः argc: awa. 78-75 (B. 73b-75, G. 72-78). ` 75-76 (B. 76, G. 74). 76-78 0, 77-78 ; ©, 75-76). „१ 1 dattyanam (madarthe, Bu)

12 THE NATYASAQTRA ध [ I. 78

78-79. “O the high-souled one,” said. Brahman then to Viévakarman,? “build carefully a playhouse of the best type.”

79-81. After constructing it according: to this instruction’ he (६.९ ViSvakarman) went with folded palms'to Brahman’s court [and said], “O god, please have a look at the playhouse which has [just] been made ready.” Then Brahman, along with Indra and and all other good (lit. the best) gods, went to have a view of the playhouse.

82-88. On seeing it Brahman said to the rest of gods, “You ought to co-operate in the protection of the playhouse in its several parts [and of the objects relating to dramatic performance}; Candra (the moon-god) to protect the main building; the Lokapilas (guardians of the worlds) its sides, the Maruts its four corners, Varuna the space [within the building], Mitra the tiring room (nepathya), Agni its plinth?, clouds the musical instruments?, deities of four Colour-groups (vu'na)* the pillars, the Adityas and the Rudras the space between the pillars, the Bhiitas (spirits) the rows (of seats=dharani], the Apsarasas its rooms, the Yaksinis the entire house, the ocean-god the ground, Yama the door, the two Naga kings (Ananta and Vasuki) the two blades of the door (dvairapatra)*, the Rod’ of Yama the door-frame, Siva’s Pike the top of the door.

88-93, 14 Niyati and Yama (11440) were made two door- keepers, and Indra himself stayed by the side of the stage. In the

78-79 (B. 79;G.77), } Visvakarman is the ‘architect of the gods, He is very frequently met with in the Puranas. There was algo'a Vedic deity of this name, See Vidyalankar, JK, sud voce.

79-'31 (क. 81-82 ; ©. 79-80). 1 दण yathoktam evam ty grhan padmodbhanijraya. 9, 0, read in place of this hemistich a complete ण,

82-88 (B, ४३-899 ; G. 81-870), 1 Vedika rangavediki tatra tiksno’ dhisthitetyartheh (Ag).

9 bhanda tte tripuskare sopakarane (Ag.)

9 Such deities are nowhere to be met with.

५ dvarapatra (dvara-pirsve (,) 5 See NS. TIE. 1-8 note 5.

88-93 (B. 89b-95a ; ध. 87b-92a),

"0 and 910. reads a couplet between 919

«I, 99] THE ORIGIN OF DRAMA : 13

Mattavarani was placed Lightning which was capable of killing Daityas, and the protection of its pillars was entrusted to the very strong Bhiitas, Yaksas, Pisacas and Guhyakas. In the Jarjara was posted Thunder (vajra) the destroyer of Daityas, and in its sections (parva) were stationed the best and powerful gods. In the pmost section was placed Brahman, in the second Siva, in the . third Visnu, in the fourth Kartikeya and in the fifth great Nagas such as, Sesa, Vasuki and Taksaka.”

93-94. Thus for the destruction of the Vighnas, gods were placed in different parts of the Jarjara, and Brahman himself occupied the middle of the stage. It is for this reason? that flowers are scattered there [at the beginning of the performance]

95. Denizens of the nether regions such as, the Yaksas, the

Guhyakas and the Pannagas were employed to.protect the bottom of the stage.

96. Let Indra protect the actor who assumes the role of the hero, Sarasvati? the actress assuming the role of the heroine,

Omkarah? the Jester and Siva the rest of the characters (dramatis persone).

97. He (Brahman) said that the gods who were employed to protect it (i.e. the play) would be its guardian deities.

Brahman pacifies the Vighnas

98-99. In the meanwhile gods in a body said to Brahman, “You should pacify the Vighnas by the conciliatory method (samun). This (method) is to be applied first, and secondly the making of gifts (dana) ; and (these proving futile) one should afterwards create

98-94. (B. 95b-96 ; ©, 92b-93). ' See Ns. ए. 74 95 (B. 97 ; ©. 94).

96 (B. 98 ; ©, 95). ! Sarasvati mentioned here seems to be the Vedic goddess of the same name. See Rk. I, 142.9 and JK. sub voce.

? Onkira aga deity is very rarely to be uict with 97 (B, 99 ; ©. 96).

14 THE NATYASASTRA = - [ I. 100.

dissension {among enemies], and this too proving unsuccessful punitive force (dana) should be applied {for curbing पीला].

100. Hearing these words of the gods, Brahman called the evil spirits and said, “Why are you out for spoiling the dramatic performance ?”

101-103. Questioned thus by Brahman, Viripaksa? together with the Daityas and the Vighnas, said these conciliatory words: “The knowledge of the dramatic art (natyaveda) which you have introduced for the first time, at the desire of the gods, has put us in an unfavourable light, and this is done by you for the sake of the gods; this ought not to have not been done by you who is the first progenitor (lit. grand-father) of the world, from whom came out alike gods as well as Daityas.”

104-105. These words being uttered by Viripaksa,? Brahman said, “Enough of your anger, O Daityas, give up your grievance (lit. sorrow), I have prepared this Natyaveda which will determine the good luck or ill luck of you as well as of the gods, and which will take into account acts and ideas of you as well as of the Daityas.

Characteristic of a drama

106. In it (na@dya) there is no exclusive representation of you or of the gods: for the drama is a representation of the state of the Three Worlds (bhacanukirtana)?,

107. [In it] sometimes there is [reference to] duty, some- times to games, sometimes to money, sometimes to peace, and

_ 98-99, (8. 100-101 ; G. 97-98). 1 ‘This is an ancient:Indian political marim.

100 (B, 102 ; G. 99),

101-103 (B. 103-105 ; ©, 100-102). 1 This name occurs in Ram. and Mbh. and in some Puranas, but none can be identified with Virtpakea mentioned here. Sce Vidyalankar, JK. sub voce,

104105 (7.106.107 ; 0. 108-104). ' For (रक्षः ए. reads otghninivn, ;

106. (B. 108; G. 105), 1 ALK, Coomaray | 106-109, (8९९ MG., New York, 1936, pp. 16-17), eee

107. (®, 109; ©. 108),

.1. 116] THE ORIGIN OF DRAMA 15

sometimes laughter is found in it, sometimes fight, sometimes love-making and sometimes killing [of people],

108-109. This teaches’ duty to those bent on doing their duty, love to those who are eager for its fulfilment, and it chastises those who are ill-bred or unruly, promotes self-restraint in those who are disciplined, gives courage to cowards, energy to heroic persoys, enlightens men of poor intellect and gives wisdom to the leayned?.

110. This gives diverson to kings, and firmness [of mind] to persons afflicted with sorrow, and [hints of acquiring} money to those who arg for earning it, and it brings composure to persons agitated in mind.

111-112. The drama asI have devised, is a mimicry! of actions and conducts of people, which is rich in various emotions, and which depicts different situations. ‘This will relate to actions of men good, bad and indifferent, and will give courage, amusement and happiness as well as counsel to them all.

113. The drama will thus be instructive? to all, through actions and States (bhava) depicted in it, and through Sentiments, arising out of it.

114-115, It will [also] give relief to unlucky persons who are afflicted with sorrow and grief or (over]-work, and will be conducive to observance of duty (dharma) as well as to fame, long life, intellect and general good, and will educate people.

116. There is no wise maxim, no learning, no art or craft, no device, no action that is not found in the drama (natya),

108-109 (B. 110-111; G. 107-101), ' All these lay stress on the educative aspect of dramatic performances.

110 @, 112 ; G. 109).

111-112 @, 113-114; G. 110-111). ‘Aristotle also brings in वफ tion’ to explain poetry and drama (Sce Poetics).

118 (B. 115; 6. 112). " See above 108-109 note,

114-115 (B. 116-117 ; ©. 118-114),

116 (B. 118 ; G. 118),

16 THE NATYASASTRA [1. 117-

117-118. Hence I have devised the drama in which meet all the departments of knowledge, different: arts and various actions. So, (O, Daityas) you should not have any anger towards the gods ; for a mimicry of the world with its Seven Divisions (septa dvipa)? has been made a rule of, in the drama.

119. ` Stories taken out of Vedic works as well as Semi- historical Tales (itihasa) [so embellished that they are] capable of giving pleasure, is called drama (natya).

120. 2A mimicry of the exploits of gods, Asuras, kings as well us house-holders in this world, is called drama.

121. And when human nature with its joys and sorrows, is depicted by means of Representation through Gestures, and the like (ic. Words, Costume, and Temperament or Saélva) it is called drama.”

Offering Paja to the gods of the staga

122-123. The Brahman said to all the gods, “Perform duly in the playhouse a ceremony (y«jana) with offerings, Homa,? Mantras®, (sacred) plants, Japa®: and the offerings in it should consist of eatables hard as well as soft (Mhojys and bhaksya*)

124, Thus this Veda (५ this Natyaveda) will have a

17-118 (B, 119-120 ; G, 116). * According to the Puranie geography the world was divided into seven continents such as Jambu, Plaksa, Salmali, KuSa, Kraniee, Sika and Puskara. Each of these continents was further subdivided into nine regions, and Bharata (India) is a region of the Jambu continent.

119 (123L-1248 ; ©, 119)! B. readsone couplet more after this.

120 (B. 121b-122a ; G. 117) । We read 120b as Aitinukaranam loke natyam etad bhavisyati, but B. differently.

121 (B, 1220128४ ; G. 118)

122-123 (ए. 125b-127a ; ©. 120-121), 1 homa~offoring oblations to gods by throwing ghee into the consecrated fire. ।

2 mantra—formula of prayer sacred to any deity.

° Japa—repeating a mantra or muttering it many times: ` + एरुवि गद्म्यवहायं भत्यमिति केचित्‌, खरं भ्मतुखादि विशदं मीदकादि,

1. 195] THE ORIGIN OF DRAMA 17

happy adoration of the world. A dramatic spectacle (01080 ) should not be held without offering Puja? to the stage.

125. He who will hold a dramatic spectacle without offering the एत will find his knowledge [of the art] useless, and he will be reborn as an animal of lower order (tiryay-yoni).

126. Hence [producers of a play] should first of all offer by all means, Piija to the‘[presiding] deity of the stage, which is sirhilar to the [Vedic] sacrifice.

127. - The actor (nartaka) or his wealthy patron (arthapati)

who does not offer this Paja or does not cause it to be offered, will sustain a loss.

128. He who will offer this एतद according to the rules and the observed practice, will attain auspicious wealth and will [in the end] go to heavens,”

129. Then Brahman with other gods said to me, “Let it he 30, offer तित to the stage.”

Here ends Chapter I of Bharata’s Natyagistra, which treats of the Origin of Drama.

124 (B.127b-128a ; G.122)) prebsis Pali pekkh occuring in Sikkha padas (€. 600 13. €. ).

2 pujo—worshipping a deity with flowers, sweet scent, incense, music and offering of catables. 125 ("126)-129, G.123). 126 (B.129b-130a, G.124). 127 (B130b-131a, G.125) 128 (B131b-132a, G.126) 129 (B.132b-133, तश),

B3 SEP 1959

CHAPTER TWO DESCRIPTION OF THE PLAYHOUSE * Introduction

‘1-2 On hearing Bharata’s words, the sages said, 0 the holy one, we would like the hear about the ceremony relating to the stage? And how are the men of future to offer + in the playhouse or [to know about] the practices related to it, or its accurate description ?

’ 8. As the production of a drama_ begins with the playhouse, you should [first of all] give us its description.”

The three types of the playhouse

4. On hearing these words of the sages, Bharata said, “Listen, O sages, about the description of a playhonse? and of the Piija to be offered in this connexion.

5-6.2 Creations of gods [observed] in houses and gardens?,

1-2 (BG. same). 1 raiga hore means ‘the stage.” Tt may also mean the auditorium as well as the spectators sitting there. So Kalidasa writes : wel रागवहइचि्तनिरनिषित द्म adit or: Sok. 1. 4, 2, 3 (8.6, same)

4 (BG. same), 1, Exeept the cave (९, 200 BC) in the Ramgarh hill suspected by Th. Bloch (Report of the Archacological Survey of कवा, 1903-4, pp.128 ff) to have beon the remains of a theatre, there is no other evidence of the existence of a playhouse in ancient India From the description of the Playhouse in the preseut chapter we learn that it was constructed with brick walls and wooden Posts probably with a thatched bungalow revf The sangidasids ( sam gitaXiudit) mentioned by Kalidasa in his Malavi. was possibly something like a playhouse (niityamandapa), Large open halls ealled nilmandtr often fond in front of more recently builé temples in Bengal und the neighbouring — provinees may he connected with the extinct playhonses. This nil-mandir 7/1 is often met with in the medieval Bengali literature.

5-6 (BG. same), 1, Between the

\ two hemistichs of 5, B, reads ono more hemistich,

* This is the reason why no deseription of a playhouse suitable for the gods has been given in the NS, iso

Iii) ` DESORIPTION OF THE PLAYHOUSE 19

॥ are the outcome of their [mere] will but men’s [creative] activity should be carefully guided by rules [laid down in the Sastras]. Hence, listen about the method of building « playhouse and of the manner of offering Puja at the site [of its construction].

7-8. There are three types of playhouses devised by the wise Visvakarman [the heavenly architecht] in the treatise on his art (éastra). They are oblong (vikysta),? square (caturazra) and triangular (tyasra).

. The three sizes of the playhouse

8-11. Their sizes vary: thoy may he large (jyesth), middle- sized (madhya) aid small (avara). The length (lit. measurement) of these [three types] fixed in terms of cubits as well as Dandas, is one hundred and eight, sixtyfour or thirtytwo. They? should [respectively] have [sides] one hundred and eight, sixtyfour and thirtytwo [cubits or Dandas]* long. ‘The large playhouse is meant for gods* and the middle-sized one for kings, while for the rest of people, has been prescribed the smallest [theatre].®

7-8 (B.G. same).

8-11 (B.G. same). ' Some are for identifying the oblong, the square and the triangular types respectively with the large, the middle-sized and the small playhouses, but Ag. very rightly ubjects to this. He says. According एतान्येव Wife ज्ेष्ठादौनि एति केचित्‌ अन्येतु waa faa मिति नदैतेऽच् मेदा श््याहः-- एतदेव युक्तम्‌ to Ag's view there will be the following nine types of playhouses : (i) large oblong (ii) large square, (iii) large triangular, (iv) oblong (v) medium square, (vi) medium triangular, (vii) small oblong, (viii) small square and (xi) small triangular. or ५ free translation of the passages in ` this chapter (8, 17, 19, 24-28, 33-35, 43-53, 63,68, 69-92) relating to.the cons truction of the playhouse sec D. R. Mankad, “Hindu Theatre” in IHQ. VI. 1932. pp. 482 ff.

? They 2, ८, the large, the middle-sized and the small.

४ Asthe measurements described are both in terms of cubits and danas (4 cubits), eighteen kinds of playhouse will be available.

* Ag व. p.51) thinks that by gods, kings and other peoples mentioned in this passage charaeters in a play have been meant. But this view does not seem to be plausible. So the other view, mentioned by him, which takes Sods and kings ete. as spectators may be atcepted,

५ Aftor thia, B. reads three couplets which go rightly between 2Q and 24. छ, also holds the same view. =" *

20 THE NATYASASTRA | 71. 19.

The table of measurement

12-16. Listen now about the measurement of all these theatres, which has been tixed by Vigvakarman. Units of these measurements? are: Anu, Raja, Bala, Liksa, Yaka, Yava, Angula, cubit (asta) and Danda.

8 Anus = 1 Raja

8 Rajas = 1 Bala

8 Balas = 1 Liksa

8 Liksas = 1 Yaka

8 Yiikas = 1 Yava

8 Yavas = 1 षाद « 24 Angulas = 1 eubit

4 cubits = 1 Danda.

With the preceding table of measurement J shall describe them (1.6, the different classes of playhouses).

The playhouse for mortals

17. An [oblong] playhouse meant for mortals? should be made sixtyfour cubits in length and thirtytwo cubits in breadth.

Disadvantage of a too big playhouse

18-19. No one should build a playhouse bigger than the above; fora play [produced] in it (i. a bigger house) will not be properly expressive. For anything recited or uttered in too big a playhouse will be losing euphony due to enunciated syllables being indistinct? [to spectators not sitting sufficiently close to the stage].

20. [Besides thix] when the playhouse is very big, the ex- pression in che face [of actors] on which rests the Representation

12-16 (B.15-19, 0. same’. 1, १८ table of imeasurement given here agrees substaatially with the onc given in the Arthagistra of Kautilya (see THQ. णा]. p. 482 footnote), |

| 17 (B.20, G. same), 1 A medium oblong playhouse is meant here. It is described in detail later on. See 33-38, 43-45, 63-65 below. 18-19 (B.21-22, G. same), ‘ anabhivyabla-varnatoid, B. reads anthsarana-dharmatyid. In spite of Ag’s acceptance of this reading it , may not he considered genuine. oa :

न. 27) DESCRIPTION OF THE PLAYHOUSE a1

of States and Sentiments,? will not be distinctly visible [to all the spectators],

21, Hence it is desirable that playhouses should be of medium size, xo that the Recitatives as well as the songs in it, may be more easily heard [by the spectators].2

22-23. Creations of gods [observed] in houses and gardens are the outtome of their [mere] will, while men are to make careful efforts in their cteations ; hence men should not try to rival the creation of gods shall now describe the characteristics of a [play] house suitable for human beings

: Selection of a suitable site

24. The expert [builder] should first of all examine a plot of land and then proceed with a good resolve to measure the site of the building.

25. A builder should erect a playhouse on the soil which is plain, firm, hard?, and black or? white.

26. It should first of all be cleared and then scratched with a plough, and then bones, pegs, potsherds in it as well as grass and shrubs growing in it, are to be removed,

Measurement of the site

27a. The ground being cleared one should measure out [the building site?

20 (B.24, G21). | rigo bhavasrstt-rasisrayal

21 (१.24 G.21) ' After this B. G. read two more couplets,

22-23 (B. 27-28, G. 24-25). ' That is, mortals (men) should not build a playhouse of the biggest type which has been prescribed for gods,

24 (8. 29, G. 26)

25 B.30,G.27), `" Ag. thinks = शमु means anusaric (=fertile)

According to Ag. the second c@ means ‘or’ ` 26 (B. 31, ©. 28).

27a (B. 32a, ©, 29४). This hemistich is followed in B and G& by one couplet which in trans, is as follows: The asterisms: Uttaraphalguni (Beta-Leonts), Uttarasiidhi ( Tau-Sagitlarti), Uttarabhadrapada (Andro- mede), Mygsivas (Lambda-Orionss), Visikhi (Jota-Libra), Revati (Prs- cium), Hasta (Corvit), Tisya (Delta-Cancri) and Anuridha (Delta-Scorpti) are favourable ih connexion with drama.

22 THE NATYASASTRA = [ 1, 28-

97-98, Under the asterism Pusya (Cancri) he should spread [for measurement] a piece of white string which may be made of cotton, wool, Muiija grass or bark of some tree.

Taking up the string

28-31. Wise people should prepare for this purpose a string which is not liable to break. When the string is broken into two [pieces] the patron? [of the dramatic spectacle} will surely dic. When it is broken into three a political disorder will occur in the land, and it being broken into four pieces the master of the dramatic art? will perish, while if the string slips out of the hand some other kind of loss will be the result. Hence it is desired that the string should always be taken and held with [great] care. Besides this the measurement of ground for the playhouse should be carefully made.

32-33. And at a favourable moment which occurs in a (happy) Tithi? during its good part (su-karana)? he should get the auspicious day declared after the Brahmins have been satisfied [with gifts! ‘Then he should spread the string after sprinkling on it the propitiating water.*

The ground plan of the playhouse

33-35. Afterwards he should measure a plot of land sixty- four cubits [long]! and divide the same [lengthwise] into two [equal] parts, The part which will be behind him (ic. at his back) will have to be divided again into two equal halves. Of these halves one {behind him] should he again divided equally into tivo parts, une of which will be made. the sage (vansa-éirsa) and the part at back the tiring room { nepathyn),

27-28 (B. 83b-34a, ©. 30b-312). 28-31 (B, 34h-37, ¢, 31b-34), । Suaminah = preksipateh, Ag. * prayoktur=niit yiciryasya, (Ag,) 32-33 (DB. 38-39a, ©. 35), 1 fithi—a lunar day.

2 Rarava—a half of a lunar day, see below 43-45 note. ® G. omits 38a,

, £3-35(B, 39b-41a, 0. 36-37),

। See 17 above and the note ] on it.

-I. 41) DESCRIPTION OF THE PLAYHOUSE ‘ 23

The ceremony of laying the foundation

35-37. Having divided the plot of land according to rules laid down before, he should lay in it the foundation of thé play- house. And during this ceremony [of laying the foundation] all the musical instruments such as, conchshell, Dundubhi?, Mrdahga* and Panaya® should be sounded

87-38. And from the places for the ceremony, undesirable persons such as heretics, including Sramanas?, men in dark red (k@saiya)? robes as well as men with physical defects, should be urned out

38-39, eAt night, offerings should be made in all the ten directions [to various gods guarding them] and these offerings should consist of sweet scent, flowers, frnits and etables of various other kinds.

39-41. The food-stuff offered in the four (cardinal] divec- tions east, west, south and north, should respectively be of white, blue, yellow and red colour, Offerings preceded by [the muttering .

=-= a ~ 2

35-37 (B.41b-43a, 6.38-49). 1 2421404४ --2 kind of drum.

2 mrdanga—a kind of earthen drum,

3 Aanava—a small drum or tabor.

37-38 (B.43b-44a, G.40). | pasanda.—This word ‘has a very curious history. Derived originaly from दष्क (caning ‘assembly’ or ‘community’) its Pkt from was «fassada or «passala or piasada. The form fasade with spontancous nasalization of the second vowel gave rise to Atokan fasamda (Seventh Pillar Edict, Delhi-Topra), which is the basis of Skt. Aasenda in the sense of ‘heretic’. It may be mentioned here that in Agokan Pkt. the word meant simply a ‘community’ and not a ‘hereti- eal community’. “One of the very carly indications of disfavour to hereties is to be found in the fourth book (ch. 18) of the Visnu P. ३९९ Winternitz: Vol. 1. p. 551

Ry reads &ramina, but G. éramana, the word means Jain monks. See NS, XVILL 36 note 2.

® kasiiya-vasana—men in Rasiya or robe of dark red colour ; such people being Buddhist monks who accepted the vow of celebacy, were considered an evil omen, for they symbolised unproductivity aud want of wordly suecess ete. See also NS. XVIII, 36 note 2

38-89 (BAdb-45a, 6.41) =" = 39-41 (B.45b-47a, (49-43)

4 THE NATYASASTRA = ` [ II. 41

of] Mantras should be made in [all the ten) difterent directions to deities presiding over them. «41-42, At [the time of laying] the foundation ghee? and ` Payasa? should be offered to Brahmins, Madhuparka® to the kings and rice with molasses (ya) to masters [of dramatic art], 42-48, The foundation should be laid during the auspicious part of a happy Tithi under the asterism Milla (Lambda-Seorpionis),

Raising pillars of the playhouse

43-45, After it has been laid, walls should be built and these having been completed, pillars within the playhouse should be raised in an [auspicious; Tithi and Karana which are under a good asterism. ‘This [raising uf pillars] ought to be made under the asterism Rohini (५11८4) or Savana (Aynille) [which are considered attspicious for the purpose],

45-46, The master [of dramatic art], after he has fasted for three [days and] nights, is to raise the pillars in an auspicious moment at dawn.

gy Se Se ae ha ce Se, ak a eS

41-42 (B.47b-48a, G44), | ghee—elaritied butter,

* payasa view cooked in milk with sugar. It is a kind .of rice- porridge.

१ madhuparka—‘n mixture of honey’ ; a respectful offering preseribed to he made to an honourable person in Vedic times, and this custom still lingers in ecremonics like marriage. Its ingredients are five : eurd (dadh1) ghee (sarpis), water (ala), honey (keaudra) aud white sugar (situ).

42-43 (B.48b-49a, 6.45).

43-45 (B.49b-51a, G.45-47). |} kavana—half of the lunar day (tithy). They are eleven in number viz.—-(1) vava, (2) viidava, (3) Aaulava, (4) tattila, (5) gara, (6) कष, (7) visit, (8) ईच, (9) catuspada, (10) niga and (11) Rintughna, and of these the first seven are counted from the second half of the first day of the bukla-paksa (bright Lalf of the moon) to the first half of the fourteenth day of the Arsya-paksa (dark half of the moon), They occur cight times ina month. The remain- ing karayas occur inthe remaining duration ऋ and appear only onee ina month. See Stiryasiddhiinta~I1. 67-68,

45-46 (B.51b-52a, (1.48),

-IT, 67] DESCRIPTION OF THE PLAYHOUSE 25

46-50. "0 the beginning, the ccremony in connexion with the Brahmin pillar should be performed with com pletely white, ? articles purified with ghee and mustard seed, and in this ceremony Payasa should be distributed [to Brahmins]. In case of the

= Ksatriya pillar, the ceremony should be performed with cloth, garland and unguent which should all be of red? colour, and during the ceremony rice mixed with molasses (yug«) should be given to the, twice-born caste. The Vaigya pillar should be raised in the north- western direction of the playhouse and [at the ceremony of its raising] completely yellow? articles should be used and Brahmins should be given rice with ghee. And in case of the Sidra pillar, which is to be raised in the north-eastern direction, articles used in offering should all be of blue® colour, and the twice-Lorn caste should be fed with Krsara,

50-53. First of all, in case of the Brahmin pillar, white garlands and unguent as well as gold from an ear-ornament should be thrown at its foot, while copper, silver and iron are respectively to be thrown at the fect of the Ksatriya, Vaigya and Siidra pillars. Besides this, gold should be thrown at the feet of the rest [of pillars}.

53-54. The placing of pillars should be preceded by the display of garlands of [green] leaves [of mango trees around them], and the utterance of ‘Let it be well’ (svasti) and ‘Let this be an auspicious day’ (punyaha). .

54-57. After pleasing the Brahmins with considerable (analpa) gift of jewels, cows and cloths, pillars should be raised

च

46-50 (B.52b-56a, G.50-53). 1 before 46, G. reads on the strength of a single ms. one couplet as follows रन्न घ मन्द्‌ ब्राह्म wd खादिरमेव च। ame रमय qe दद्र igh: waa This interpolation seems to record the tradition that the pillars should be considered as wooden.

= white—symbol of purity and learning, associated with the Brahmins, *

° red—symbol of energy and strength, associated with the Ksatriyas.

* yellow—symbol of wealth (gold) associated with the Vaigyas,

४ blue—symbol of non-Aryan origin associated with the Stidras,

50°53 (B.56b-58a,AC.54-56), , ` = 53-54 (By59b-60a, G57) »

4

96 THE NATYASASTRA LIL 57-

[in such a manner that} they do neither move nor shake nor turn round. Evil consequences that may follow in connexion with the raising of pillars, are as follows: when a pillar [after it has been fixed] moves drought comes, when it turns round fear of death — occurs, and when it shakes, fear from an enemy state appears. Hence ene should raise a pillar free from these eventualities.

58-60, Incase of the holy Brahmin pillar, a cow? should be given as fee (तवाक) and in case of the rest [of the pillers] builders should have a feast. And [in this feast foodstuff] purified with Mantra should be given by the wise: master of the dramatic art (nadyar@rva). Then he should he fed with Krsara?

t

and salt,

60-63. After all these rules have been put into practice and all the musical instruments have been sounded, one should raise the pillars with the muttering over them of a suitable Mantra [which is as follows}: “Just as the mount of Meru is unmoyed and the Himalaya is very strong, so be thou unmoyeable and bring victory to the king’ Thus the experts should build up pillars, doors, walls and the tiring room, according to rules,

The Mattavarant

63-65. On feach] side of the stage (rungapitha) should be built the Mattavarani? and this should be furnished with four pillars and should he equal in length to the stage (ra iqupatha)

54-57 (B.56b-63, G.58-6la), | aealitam (B. acalrttan)—Though Ag. is supposed to read acalitam he interprets it correctly as valayii- ky tyidinis partvarttanam yasya karaniyam na bhavati (1. p.6(0.

58-60 (B, 64-662, ¢, 61069). 1 This kind of payment is probably a relic of the time when there was no metallic currency.

° krsarit is made of milk, sesamum (१/९ and rice. Compare this word with NIA. khicadi or दद्दा (view and peas boiled together with a few spices). 60-63 (B.66b-62a, G 64-86)

63-65 (B.69b-71a, G.67-68). 1 matta-viirani—The word does not seem to oceur in any Skt. dictionary. There is however a word mattavarana meaning ‘a turret or small room on the top of a large building, a veranda,. a pavilion’. In Ksirasvamin’s commentary to the Amarakoéa, matta- varana hits been explained as follows : snattilambopierayah syit pragrivo

-IT, 68] DESCRIPTION OF THE PLAYHOUSE 9

andits plinth should bea cubit and a half high?. And the plinth of the auditorium (rangamandala)® should be equal in height to that of the two [Mattavaranis],

65-67. Ae the time of building them (the two Mattavaranis) garlands, incense, sweet scent, cloths of different colours as well as offerings agreeable to [Bhiitas} should be offered (to them].

And to ensure the good condition of the pillars, one should put'a piece of iron below them, and Brahmins should be given food including Krsari. The Mattavaranis should be built up after observing all these rules.

e The stage

68. Then one should construct the stage (ranyapitha)?

mattaviiranah (see Oka’s ed. p.50), This is however not clear. Aatta- varanayor varandaka mentioned in Subandhu’s Vasavadatta (ed. Jivananda. p. 33) is probably connected with this word. Sivar’ima Tripathi explains these words as follows: मत्तवारणी मत्तगजौ तयोरण्डकेष । भिन्तेरभयपाच' दौ स्थापथिला मतङ्ग । यौधयन्तीति प्रसिन्नं भित्ति सातु वरण्डकम्‌ ॥ This also docs not give any clear idea about mattacurana or matlaviranayor 1/1 the word mattanurani may be tentatively taken in the sense of ‘a side-room,’ Ag. scomsto have no clear idea about it. On this he (I. pp. 64-65) says : ana afefeaaanaria asd) हितौय-भितिनि्म्‌ रेव प्रासादाहारिका ( carerfaar १) प्रदवीसहयो हितोयमूनिःरयन्य, A Dictionary of Hindu Architecture, by (P. K. Acharya Allahabad, 1927) does not give us any light on this term.

* According to a view expressed in the Ag. व. p. 62) the plinth of the mattavarani is a cubit anda half higher than that of the stage—¥enritsa यथा रक्पीठपे्या सापृहलपरिमाण छउक्छयः कार्यों auacar, ‘The plinth of the audi- torium is also to be of ths same height as that of the matavarani. But nothing has been said about the height of the plinth of the tiring room. Vrom the use of terms like rengécvatarana (descending into the stage) it would appear that the plinth of the tiring room too, was higher than the stage. Weber however considered that the stage was higher. Indische Studien XIV. p. 225 Keith, Skt. Drama, p. 360. ef. Lévi, ThéAtre indien, 1. 374, ii. 62.

४ B. reads vangamanilapam instead of rangamandalam (©) which is the correct roading. 65-67 (B.71b-73, 69-71a)

68 (B.74, G.71b-72n). + Some scholars following Ag, are in favour of taking and rangepithe raigasirsa ag two different parts of the play- house (sec D.R. Mankad, “Hindu Theatre” in. IHQ. VII. 1932, pp. 480 ff.

98 THE NATYASASTRA { 11. 68-

after due performance of all the acts prescribed by rules, and the stage (raiyasirsa) should. include six pieces of wood.

69-71. The tiring room (nepathya) should be furnished with two doors}. In filling up [the ground marked for the stage] the black earth should be-used with great care. This éarth is to be made free from stone chips, gravel and prass by the use of a plough to which are to be yoked two white draught animals. Those who will do [the ploughing] work should be free from physical defects of all kinds. And the earth should be carried in new baskets by persons free from defective limbs.

72-74. Thus one should carefully construet the plinth of the stage (कावा). It must not be [convex] like the back of a tortoise or that of a fish. Fora stage (raayapith) the ground which is as level as the surface of a mirror, is commendable. Jewels and precious stones should be laid underneath — this (rengasirse) by expert builders, Diamond is to be put in the east, lapis luzli in the south, quartz in the west and coral in the north, and in the centre gold.

Decorative work in the stage

78-80. The plinth of the stage having been constructed ' thus, one should start the wood-work which is based on a carefully thought out (@a-pratyuhu-samyukta)? [plan], with many artistic

and 1X, 1933-pp. 973 ff. ; ए, Raghavan, “Theatre Architecture in Ancient India” Triveni IV-VI, (1931, 1933) also “Hindu Theatre”, THQ, IX, 1933, pp.-991 ff. I am anable to agree with them, For my arguments णा this Peint ser “The Hindu ‘Theatre? in IQ. IX. 1933 pp. 591 ff. and “Lhe Nw’ and the Abhinavabharati” in THQ. >, 1934 pp. 161 ff.

69-71 (B.75-77, G.72b-75u). 1 On this point the Hindu Theatre has 4 similarity with the Chinese tueatre, (See A.K. Coomaraswamy—“Hindu Theatre” in IHQ, IX. 1933. p. 594),

, 12-74 (1, 78-80, 0.750.789), 1 See note | on 68. IE raigadirga and raingapilha are taken to mean two different parts of the playhouse the interpret ition of the passage will lead us to unnecessary difficulty,

75-8) (B.80-86a, 0.780-83). | wha and pratyiha may also be taken as t.vo architectural terms (see Ag. I, p. 63),

11. 82] DESCRIPTION OF THE PLAYHOU SE a9

°

pieces such as decorative designs, carved figures of elephants, tigers and snakes. Many wooden statues also should be set up there, and this wood-work [should] include Niryihas?, variously placed mechanized latticed windows, rows (harani) of good seats, numerous dove-cots and pillars raised in different parts of the floor?. And the wood-work having been finished, the builders should set out to finish the walls. No pillar, bracket*, window, corner or door should face a 10075,

80-82. .The playhouse should be made like a mountain cavern? and it should have two floors® [00 two different levels] and small windows ; And it should be free from wind and should have good acoustic quality. For fin such a playhouse] made free from the interference of wind, voice of actors and singers as

9 nirytiha is evidently an architectural term but it does not seem to have been explained clearly in any extant work. Ag’s explanation does not give us any light.

3 In the absence of a more detailed description of the different parts of the wood-work, it is not possible to have aclear idea of them. Hence our knowledge of the passage remains incomplete till such a description is available in some authentic work.

५ nagadanta means ‘a bracket’. The word occurs in Vatsyayana’s Kamasittra. nagadantavasakti vind (I. 5.4)

5 On this passage Ag. (Lp. 64) says : प्रतितारम्‌ अवान्तरहारेण fay परस्परस, खौ - भूतमध्यं न ger,

80-82 (2. 869, 898, G. 84-85). |! The pillars of the playhouse being of wood, the roof was in all probability thatched and in the form of a pyramid with four sides. Probably that was to give it the semblance of a mountain cavern.

eo ५ The two floors mentioned here seem to refer to floors of different heights which the auditorium, wa¢favarant and. the stage had. See 63-65 above and note 2 on it. According to some old commentators dusrbAtimz indicated a two-storied playhouse while others were against such a sugges tion. Ay. (1. ए, 64) says: ३ भूमौ रङृपोस्याधसनोपरितनष्पेेति चित्‌ । मत्तवारणो वहिनिगमनप्रमा शेन स्तो वितोवमित्तिनिषेधेन हेबप्रासादादधारिका (?) प्रदिवो दितोथा भ्रूनिरियिर ।

Safe सष्छपान्तरनिषेधनादित्यपरे । अदिभूमिरिप्ये $.

30 THE NATYASASTRA [ II. 82-

well as the heard*, g2-83. ‘The construction of walls being finished, they should be plastered and carefully white-washed. After they have been smeared [with plaster and lime], made perfectly clean and beautifully plain, painting should be executed on them. In this painting should be depicted creepers, men, women, and their amorous exploits?, Thus the architect should construct a play-

house of the oblong (८11) type.

sound of musical instruments® will be distinctly a र

1

Deseription of a square playhouse

‘

86-92. Now [shall speak of the characteristics of that of the square (rafurasra)? type. A plot of land, thirtytwo cubits in length and breadth, is to he measured out in an auspicious moment, and on it the playhouse should be erected by experts in dramatic art. Rules. definitions and propitiatery ceremonies mentioned before [in case of 2 playhouse of the oblong type] will also apply in case of that of the square type. Lt should be made perfectly square and divided into. requisite parts? by holding the string [of measurement], and its outer walls should be made with strong bricks very thickly set together. And inside the stage and in proper directions (the architect] should raise ten

9 kulapa—This word is explained by Ag. differently in different parts of his comm, Once (I. p. 73) he says कुतपमिति चतुदिधातोदभाष्डनि and next time too (1, p. 1८6) he says चतुरविधनातोद। gad, but in another place (I. p. 65) he say केपः मकट्-गाधनव।दक 44q@: and this latter view seoms to have been repeated in L. 9. 214. ‘The lirst view seems to vive the correct interpretation,

* After B87 B, repeats 19 (B22) unnecessarily.

82-85 (B.89b-92, U-.86-A9a), | atmabhogajam \iterally means ‘due to self-indulysnee or cnjoyne-nt of the self’, Compare with this deseription the decorative paintings in the Ajanta caves,

86-92 (B,Y3-99a, Ur. 89b-95). 1 caturasra gives rise to NIA. canras or coras,

क ex wis sacs Sekt Me The exact nature of this division is not clear from the passage,

The view expressed by Ag. (1. p. 66) on this point dors not seem to be convincing. :

“IJ. 100] DESCRIPTION OF THE PLAYHOUSE | 31

pillars* capable of supporting the roof. Outside the pillars, seats should be constructed in the form of a staircase by means of bricks and wood, for thé accommodation of the spectators. Successive rows of seats should be made one eubit higher than those preceding them, and the lowest row of seats being one cubit higher than the floor And all these seats should overlook the stage.

92-95. In the interior of the playhouse six more strong pillars capable of supporting the roof should be raised in suitable positions and*with [proper] ceremonies (ic. with those mentioned before)” And in addition to these, eight more pillars should he raised by their side. Then after raising [for the stage or rngapitha| a plinth cight eubit (square, more] pillars should be raised to support the roof of the playhouse. These [pillars] should he fixed to the roof by proper fasteners, and be decorated with figurines of ‘woman-with-a-tree’ (x@lastrd = salu bhanjika)

95-100. After all these have been made, one should care- fully construct the tiring room (५९1). Tt should have one door leading to the stage through which persons should enter with their faee towards [the spectators}. There should also be a second door facing the auditorium (range). The stage [of the square playhouse} should be eight cubits in length and in breadth, It should be furnished with सा clevated plinth with — plain surface, and its Mattavarani should be made according to the measurement prescribed before (^, in case of the oblong type of

3 The position of these ten pillars and others mentioned afterwards is not clear from the text. Whatever is written on this point in Ag’s commentary is equally diffienlt to understand. Those who are interested in the alleged view of Ag. may be referred to articles of D. R. Mankad and छ, Raghavan (doc. cz#.).

92-95 (B,99b-102a, G.96-98). | silastri=Sala-bhaiyrka (see A. ए. Coomaraswamy, ‘The Women and tree or Salabha jika in Indian literature in Acta Oricutalia, vol. VII. also ef, this author’s Yaksas, Part IT. p. 11.)

95-100 (B.1026-107 G.99-104). ` Both the sides are meant. There should be two matfavaranis as in the ease of an oblong medium, (wkrsta-madhya) playhouse described before (17, 2-85)

39 ~ THE NATYASASTRA _ LI. 100.

playhouse). The Mattavarani should be made with four pillars by the side? of the plinth [mentioned above]. The stage should be either more elevated than this plinth or equal to it in height. In case ofa playhouse of the oblong (न्ष) type, it should be higher than the stage, whereas in’a playhouse of the square type it should have a height equal to that of the stage. These are the rules according to which a square type play- house is to be built.

Description of a triangular playhouse

101-104. Now I shall speak about the characteristies of the triangular (८१९५५) type of playhouse. By the builders, a play- house with three corners should be built, and the stage (rangapitha) in it also should be made triangular. In one corner of the playhouse there should bea door, and a second door should be made at the back of the stage (ranyapitha). Rules regarding walls and pillars? which hold good in case of a playhouse of the square type, will be applicable in case of the triangular type®. These are the rules according to which different types of playhouses are to be constructed by the learned. Next I shall describe to you the {propitiatory] Paja in this connexion.

Here ends Chapter [ of Bharata’s N atyasastra which treats of the Characteristics of a Playhouse.

101-104 (B.108-111, G.104b-108). ' It [8 not clear how the triangular playhouse will have pillars like those of other types,

> No mattaviivran hag been prescribed 17 case of the triangular playhous..

CHAPTER THREE PUJA TO THE GODS OF THE STAGE Consecration of the playhouse

1-8. In the auspicious playhouse constructed with all the characteristics [mentioned obove] cows, and Brahmins muttering (proper Mantras] should be made to dwell for a week. Then the master of the dramatic art who has been initiated [for the purpose] and has put on new cloths, fasted for three days, lived away from his bed-room (lit. the dwelling house), has kept his senses under control and has [thus] become purified, will besprinkle his limbs with water over which purificatory Mantras have been muttered, and consecrate the playhouse. This [consecration] should take place after he has made obeisance to the great god Siva the lord of all the regions, Brahman who sprung from the lotus, Brahaspati the 1 r of the gods, Visnu, Kartikeya, Sarasvati, Laksml, Siddhi, Medha, Smrti, Mati, Candra (Moon), Sirya (Sun), Winds, Guardians of all directions, Agvins, Mitra, Agni, and other gods, such as Rudra, Varnas’, Kala? Kali®, Yama, Niyati, the Sceptre of Yama*, Weapons of Visnu®, the Lord of the Nagas (Serpents), the Lord of the birds (Garuda), Thunderbolt, Lightning, Seas, Gan- dharvas, Apsarasas, Sages, Natya-maids®, Mahagramani (the great leader of Ganas)?, Yaksas, Guhyakas® and the hosts of Bhiitas.

, 1-8 (B.1-7, 9, 6.1-7, 9). + varnas—No gods called varnas are to be met with in any other work. They may be taken as deities ruling specially over the four vernas of people.

3 Kala—There are several legendary heroes (gods, sages and Asuras) of this name, see Vidyalankar, JK. 54४6 voce,

* Kali—There are many legendary heroes of this name, sce JK. sub voce.

* See note 5 below.

५ Weapons of Vignu appear as deities in the Act. I of Bhisa’s Bala.

+ natyekumiri—Such goddesses are possibly mentioned nowhere elee.

1 mahagramani~The great leader of Ganas. It is very difficult to accept Ag’s identification of mahagrimani with Ganapati (mahigra- mantr ganapatth). For in 88 below, occurs the term mahdganeivara

|

84 _ ‘THE NATYASASTRA [ II. 9.

9-10. Having made obeisance to these, and other divine sages (devarsi), he should with folded palms invoke all the gods to their respective positions, and say, “Ye, holy ones, should take us under your protection during the night, and ye with your followers should offer us assistance in this dramatic performance”.

Offering Puja to the Jarjara

11-18. Having worshipped [thus] all the gods as well as all the musical instruments (४120) he should offer Pija to the Jarjara? for attaining good success at the performance [and pray toitas follows]. “Thou art Indra’s weapon killing all the demons ; thou hast been fashioned by all the gods,. and thou art capable of destroying all the obstacles ; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins and progress to dramatic undertakings”.

14-15. After proceeding thus according to rules and staying in the playhouse for the night, he (the master of the dramatic art) (in the plural number) indicating the different leaders 1 Ganas who followed Siva. One of such leaders has been mentioned there as Nandiévara (Nandin). Besides this the term Ganeéa (the leader of Ganas) has also been applied to Siva in 47 below. In describing pride: dhas the pindi of GaneSvara las heen named as daksayajia-vimardini (NS. IV, 260). This too shows that ganeSvara, griimani or mahigrimani meant simply the leader, one of the leaders or the great leader of Ganas. The fully developed Ganapati secms to be non-existent at the time when the NS, was composed. Our suspicion in tle matter seems to be corroborated by the variant dalha grimidht-devali recorded in the ms tha of B. for mahagrimanyam. Ganapati secms to be a late entrant into the Hindu pantheon. He is not mentioned in any one of the old Puranas. Only the Varaha, Vamana and Brahma-vaivarta ए, which are very late know the deity (Winternitz, Vol. 1. pp. 566-568, 573, Vidyalankar, JK. sud voce),

* Kalidasa makes no distinction between Yaksas and Guhyakas, 868 Meghadiita 1 and:5. ।

४ See above.. 9-10 (B.10-11, G.10-11). 11-13 (B.12-14, 0.12-14). ` See below 72-78 note 3, The reading

samprayuja in all editions and 058, seems to be wrong. It should be emended as samprapiijya.

9, Sec 73-81 below. 1415 (B.15-16, 6.15.16,

UIT, 91} PUJA TO THE GODS OF THE STAGE 85

should begin Pija as soon as it is morning. This एह connected with the stage should take place under the asterism Ardra (Alpha- Orionis) or Magha (Regulus) or Yamya (Musca) or Piirvaphalguni (Delta-Leonis) or Pirvasadha (Delta-Sagittarit) or Piirvabhadra-

pada (Alpha-Pegasi) or Aélesi (Hydrae) or Mila (Lambda. Scorpionis)

+ 16. The stage should be illuminated and the एत of the gods in its connexion should be performed by the master of the dramatic art (@ca@ryc) after he has purified his body, concentrated his mind [to these acts] and initiated himself [to the एप

‘Installation of the gods

17. During the concluding moments of the day, which are considered to be hard and full of evils, and are presided over hy

Bhiitas, one should perform Acamana? and cause the gods to be installed.

18. (Along with these gods] should be [taken] red thread- bangle (pratixara@)}, the best kind of red sandals red flowers and red fruits. [With these and] articles such as barley, white mustard, sunned rice, Nagapuspa? powder and husked saffron (priyangu)®, the gods should be installed.

The Mandala for installing the gods

20. In this ceremony one should draw in proper place a Mandala? according to the manner prescribed.

21. This mandala should be sixteen Talas (hasta)? square and it should have doors on all its four sides.

16 (B.17, G.17),

17 (B.18, 06.18). |} acamana—ceremonial rinsing of the mouth by sipping water from the palm of the hand.

18-20 (8.19-218. @.19-21a) + pratisara—sitra-vinirmita granthi-mantah kaiukanavtsesah, Ag. 1. p. 74)

° nagapuspa=the campaka tree (Apte), but Ag. says nigapuspam nagadantah., ;

५ priyaiigu=saifron, and uot the fruit of the przyaigw erceper. 20 (B.21b-G.21b). ' See the dingram | #1 (B.22-G22), ` Aasta in this presage ie to be interpreted av

36 THE NATYASASTRA प. 99.

22. In its middle should be drawn two lines vertically and horizontally (i.¢. parallel to the sides), and in the apartments made by these lines, should be installed the different gods.

23-30. Inthe middle of this (mandala), should be put Brahman who has lotus as his yeat?. Then one should first of all put in the east Siva with his host of Bhiitas, Narayana (Visnu), Indra, Skanda (Kartikeya), Stirya, Agvins, Candra, Sarasvati, Laksmi, Sraddha and Medha, in the south-east Agni, Svaha, प Gandharvas, Rudras and Rsis, in the south Yama, Mitra with his followers, Pitrs, Pisicas, Uragas and Guhyakas, in the south-west the Raksasas and all the Bhiitas, in the west the Seas and Varuna, in the north-west the Seven Winds? and Garuda with other birds, in the north Kuvyera, Mothers of the Natya, Yaksas with their followers, in the north-east leaders of Ganas such as Nandin, Brahmarsis and the host of Bhitas in their proper places.

31. And [in the eastern} pillar should be placed Sanat- kumara?, in the southern one Daksa?, in the northern one Gramani (lit. leader of Ganas)® and in the western one Skanda (Kartikeya),

32. According to this rule all the gods in their [proper] form and colour should be placed in their respective positions,

hasta-tala or 402 1.८. the interval between the tips of the thumb and the middle-finger stretched in opposite directions, SEBAATE A प wea nerfed | तदेययोरनतराकं तालमाहमनौपिपः y SR. VII. 1046. Otherwise it will be im- possible t accomodate ihe mandala on. the stage which is eight cubits wide (See Nx. II. 33-35). The ancient commentators like Satkuka and others pointed out how absurd it would be take Aasfa in the passage iu the sense of cubit. (see Ag. I. p. 78), 22 (B.23, 6.23).

23 30 (B.24-31, G.243]), 2 According to Ag. a lotus is to be described in the centre of manjalt, * For the soven winds see the Vamana ©, (866 Vidyalankar, JK, sud voce),

31 (B.32, ७.32). of Brahman,

*Dakga—one of the lords of the creation (prajapats), son of Pra- cetas. “There were other Daksay besides. See Vidyulankar, JK. sud voce. " See above 1-8 uote 7, 32 (B.33, 6.88).

` Sanatkumira—one of the Great rg, and ason

Ul. 44) PUJA TO THE GODS OF THE STAGE 3? ` Offering Puja to the gods

33. After they have been installed with regular ceremony in suitable places they should be worshipped in a fitting manner.

34, Gods [in general] should be given white garlands and unguents, while Gandharvas, Agni and Siirya should be given gar- lands and unguents of red? colour.

* 38. After being treated [thus] in due order and manner they should be worshipped according to rules with suitable offerings.

36-39. {Offerings suitable to different gods and goddesses are as follows]: Brahman Madhuparka?, Sarasvati Payasa?, gods like Siva, Visnu, and Indra sweetmeats. Agni rice cooked with ghee, Candra and Sirya rice cooked with molasses, Vigvedevas, Gandharvas and sages honey and Piyasa, Yama and Mitra cakes and sweetmeats, Pitrs, Pigacas and Uragas ghee and milk, host of Bhiitas rice cooked with meat, wines of different kinds and grams covered with thick milk.

Consecration of the Mattavarani

40-44 Similar shall be the rules regarding the Pija in ‘connexion with the Mattavarani. [Offerings to be made to different gods and demigods are as follows]: Raksasas half-cooked meat, Danavas wine and meat, the remaining gods cake and Utkarika* and boiled rice, gods of seas and rivers fish and cakes, Varuna ghee and Payasa,:Sages various roots and fruits, the wind god and birds different edible stuff (lit. bhaksya and bhojya), Mothers® of the

33 (B.34, 6.84).

84 (B.35, 6.35). ' ‘Whiie’ here seems to be the symbol of purity and good grace.-

2 ‘Red’ here seems to be the symbol of energy.

95.(9, 35, G.36).

36-39. (B. 37-40, G. 37-40). | madhuparka—see above II. 41-42.

note 3.

9 payasa—aee above II. 41-42 note.

40-44.(B.41 45, G.41-45). ` 866 above.

५ wtkantki=a kind of sweetmeat.

१ These goddesses seem to have been ignored by the Purdyas.

38 ; THE NATYASASTRA | IIT, 44-

Natya, and Kuvera with hig followers eatables including cakes, and Locikis*.

45, These different kinds of foodstuffs should be offered to them and the Mantras to be uttered at the time of making offering to different gods will be as follows :—

4§, (The Mantra for Brahman), 0 the god of gods, the most lordly one, the lotus-born one, the grand-father (of the worlds) accept this my offering consecrated by the Mantra.

47. (For Siva) 0 the god of gods, the great ‘god, the lord of Ganas? and the killer of Tripura, accept this my ete.

18. (For Visnu), O Narayana, Padmanabha, the best of the gods, with unrestrained movement, accept this my ete.

49. (For Indra), O Purandara, the lord of gods, the thunder hearer, the maker of the hundred exploits, acecpt this my ete.

2. (For Skanda), 0 Skanda the leader of the celestial army, the blessed one. the dear son of Siva, Q the six-mouthed one, accept this my ete

3h (For Sarasvati,, O the goddess of the gods, the very blessed one, the dear wife of Hari, accept this my ete.

52 (For goddesses Lakgmi, Siddhi, Mati, Medhi) () Laksmi, Siddhi, Mati and Medha, ye who are honoured by all the worlds, accept this my ete.

53. (For Marata) O Maruta, you who know the might

of all the creatures and are the life of all the world, accept this my ६८ १

०४. For Raksusas) () the great Raksasas, the great-souled

+ loctkio—This tas bon read in 11188, aa (0८11, topika, lepiki, lipiku. The word seems to be connected with the NIA. luct, loci, from elocta, slocrka.

` 45 (B.46, (1.46) 36 (B.47, 6.47).

47 (B51, C48. ` [६ should be marked here that Siva has been called GaneSvara, a teria applied in later times to Ganapati only,

48 (९.50, (7.49), 49 (1.48, 0.50). 50 (1.49, 6.51).

21 (0.53, 6.52). 52 (1.55. G55) 53 (13.56, ७.59).

54 (8.54, G.54),

“UI. 68 |] PUJA TO THE GODS OF THE STAGE 39

ones, the sons of Pulastya, born of different causes, accept this my ete.

55. (For Agni) O Agni, the mouth of the gods, the best of the gods, the smoke-bannered one, the eater of things offered in sacrifice, accept this my offering given with love.

। 56. (For Candra) 0 Soma, the lord of all the planets, the king of the twice-born ones, the favourite of the world, accept {118 my ete.

57. (For Sirya) 0 the maker of day, the mass of heat, the best among the planets, accept this my ete.

58. (Far lords of Ganas such as, Nandifvara) O the great lord of Ganas. among whom Nandigvara is the foremost, accept this my ete.

59. (For Pitrs) 1 bow to all the Pitrs. do ye accept my offering, (For Bhiitas) I always bow to all the Bhitas who may have a liking for offerings*.

60a. (For Kamapala) 0 Kamapala. I always bow to thee to whom this offering is made.

60-61. (For Gandharvas) 0 Gaudharvas, amongst whom Narada, Tumburu and Visvavasu are the foremost. accept this my hest offering.

61-62, (For Yama and Mitra) O Yama and Mitra, the gods who are adored by all the worlds. accept this my etc.

62-63. (For Nagas) I bow to all the Pannagas in the nether region, who are devourers of wind, give me success in dramatic production after I have worshipped you.

- 68-64. (For Varuna) O Varuna, you who are the lord of all waters and haye the swan as your mount, be pleased along with the seas and rivers, after I have worshipped you all.

55 (B.57, G.56). 56 (1.58, G.57).

57 (B.59, G 68). 58 (G.60, B.59).

59(B.6}, G.60a). ¬ G. puts one hemietich after 60a without “pum bering it. 60a (B.62a,G.6%b). . 60-61 (B.62b-63a, 6.61).

61-62 (B.63b-64a, (.62). 62-63 (B. 64b-65a, G.63).

63-64 (B.65b-65a, 6.64. “

40 THE NATYASASTRA [ ILL. 64-

64-65. (For Garuda) 0 the son of Vinat&, the high-souled one, the lord, the king of all the birds, accept this my ete.

64-66. (For Kuvera) O the superintendent of {all] wealth, the king of Yaksas, the guardian of the world, the lord of riches, ye along with Guhyakas and Yaksas accept this my ete.

66-67. (For mothers of the Natya) O mothers of the Natya such as Brahmi and others, ye be happy and pleased to accept my offering. र

67.48. (For others) 0 weapons of Rudra, ye accept my offerings. © weapons of Visnu, ye too accept [things given by me] out of devotion for Visnu. +

68-69. 0 Yama, the Fate, the dispenser of death to all creatures and the end of all actions, accept my offerings.

69-70, Ye other gods who are occupying the Mattavarani, accept this my etc.

70-71. To all other gods and Gandharvas too who occupy the heavens, the earth, the middle region and the ten directions, these offerings are made (lit. let these be accepted by them).

71-72, Then a [earthen] jar? full of water with a garland of leaves in its front, should he placed in the middle of the stage, and a piece of gold should be put into it.

72-73, All the musical instruments covered with cloth should he worshipped with [sweet] scent, flowers, garlands, incense and various eatables hard and _soft.?

as ce

64-65 B.66b-67a, 6.69}. 65-66 (B.67b-6%a, 6.66). 66-67 (B.68b-69a, G.67). 66-68 (B.69b 70a, 6.68). 68-69 (B.70b-71a, 6.69). 69-70 (B.71b-72a, 6.70).

70-71 (B.72b-73a, 0.71).

4 ~ (B.73b-74a, 0, 72), 1 For the significance of this jar see below 72-73 (B.74b-75a, 6.76). } This passage with some minor variation has been repeated in 8. and G. But this is out of place there. For the

order in which musical instruments (kwage) and the Jarjara should be worshipped see 11-13 above,

IIL 85] PUJA TO THE GODS OF THE STAGE 4t Consecration of the Jarjara- a

` 73-74. Having worshipped all the gods in due order, and offering एतद to the Jarjara [in the following manner] one should liave the obstacles removed

74-76. [One should fasten a piece of] white cloth atthe top [of the Jarjara], blue cloth at the Raudra joint, yellow cloth at the Visnu joint, red cloth at the Skanda joint, and variegated cloth at the lowest joint?. And garlands, incense and unguents. are to be offered to it (the Jarjara) in a fitting manner.

76-77. Having’ observed all these rites with incense, garlands and unguents one should consecrate? the Jarjara with the following Mantra: ॥ ।

77-78. “For putting off obstacles thou hast been made very strong, and as hard as adament, by gods such as Brahman.

78-79. Let Brahman with all other gods protect thy top- most part, Hara (Siva) the second part, Janardana (Visnu) the third part, Kumara (Kartikeya) the fourth part, and the great Pannagas the fifth part.

80-81. Let all the gods protect thee, and be thou blessed. | Thou, the killer of foes, hast been born under Abhijit (Vega), the best of the asterisms. Bring victory and prosperity to the king !”

Homa or pouring ghee into sacrificial fire

81-82. After the Jarjara has thus been worshipped and all ` offerings have been made to it, one should with appropriate Mantras perform Homa and pour (ghee) into the sacrificial fire.

82-83, After finishing the Homa he should with the fire lighted [in the place of sacrifice] do the cleaning work (?) which is to enhance the brilliance of the king as well as of the female dancers.” `

------- + --~-- --~ ---- ~ - ------ -- -* --- ------~ ~~~

73-74 (B.75b-76a, 0.73). ` 7476 (B.76b-78a, G.74-75), ' For identifying the joints ees 78-79 below. -76-77 (B.79b-80a,G.77). - 77-78 (B.80b-81a, G 78), 78-80 (B.81b-82, G.79-80a). 80-81 (B. 88b-84a, 6.800-81). 81-82 (B.84b-85a, G. 82). ` 82-88 (B.85b-86a, 0.88}. 6

a TUB NAL TABATA MM

4 93.84, After. having illumined the king and the dancers together with the musical instruments one should sprinkle them again with water sanctified by the Mantra, and say to them :

84-85. “You are born in noble families and adorned with multitudes of qualities, let whatever you have acquired by virtue of birth, be perpetually yours.”

§5-86. After saying these words for the happiness of the king, the wise man should utter the Benediction for the success of the dramatic production. ।

86-87. [The Benediction] : Let mothers such as Sarasvati, Dhrti, Medha, Hn, Su, Laksmi, and Smrti? protect you and give you success.

Breaking the Jar

87-88. Then after performing Homa according to rules with ghee and the proper Mantra the master of dramatic ars should carefully break the jar.

88-89. In case the jar remains unbroken the king (lit. the master) will have a cause of fear from enemies; but when it is broken his enemice will meet with their destruction.

TNumination of the stage

89-90. After the breaking of the jar, the master of the dramatic art should illuminate the auditorium (range) with a lighted lamp.

90-91. Noisily, that is, with roaring, snapping of fingers, jumping and running about, he should cover the auditorium with that lighted lamp (in his hand],

91-92. Then a fight should be caused to be made {on the

83-84 (B.86b-87a, 6.84). 84-85 (87b-88a, G85).

85-86 B.88b-89a, G.86). 86-87 (B.89b-90a, 0.87}.

-$7-88 (B.90b-91a, 0.88). 1 Thess are the seven Natyaumitrkis. See 23-30 above. 88-89 B.91b-92a, 0.89).

89-90 (B.92b-93a, 0.90). 90-91 (B,93b-94a, 0.91),

91-93 (B.94b-96a, 0.9.98). ' dumdubhi~» kind of drum,

ddd. $6] PUJA T0 THE GODS OF THE STAGE 7

_ gtage] in accompaniment with the sound of all the musical instrus ments such as conch-shell, Dundubhi?, Mydanga* and Panava®.

92-93. If the bleeding wounds [resulting from the fight] will be bright and wide, that will be a [good] omen indicating success.

Good results of consecrating the stage

* 93-94. If the stage is properly consecrated it will bring good luck tothe king (lit. the master) and to people young and old of the city as well as of the country.

94-95. , But when the auditorium is not consecrated in proper manner it will be indifferently held by gods, and there will be an end of the dramatic spectacle, and it will likewise bring evil to the king.

95-96. He who willfully transgresses these rules [of consecration of the stage] and practises [the dramatic art], will soon sustain loss and will be reborn as an animal of lower order.

96-97. Offering worship to the gods of the stage is as meritorious as a [Vedic] sacrifice. No dramatic performance should be made without first worshipping the deities presiding over the stage. When worshipped, they (these god) will bring you worship, and honoured they will bring you honour. Hence one should by ull efforts offer Pija to the gods of the stage.

Evils following non-conseeration of the stage `

98-99. Never will fire fanned hy violent wind burn things so quickly, as defective rites will burn quickly [the master of the dramatic art).

99-100, So the stage should he worshipped by the master of the dramatic art who is purificd, disciplined and proficient in

+ mrdanga—a kind of earthen drum,

® panava—a kind of drum.

98-94 (B.96b-97n, G.94). ˆ 94-95 (B.97b-98a, 6.95), 95-96 (B.98b-99a, 6.96). 96-98 (B.99b-101a, G.97-98). 98-99 (B.1U1b+102a, 0.99). ` 99-100: (B.102b-103a, G1 00).

u - HH NATYASASTRA [ IL. 100 -

` the rules of the art and initiated into the practice of it and has quiet of mind. 100-101. He who with an agitated mind places his offering in a wrong place, is liable to expiation like one who pours ghee into the sacrificial fire without’ proper Mantras. This is the procedure prescribed for worshipping the gods of the stage, It should be followed by producers [of plays] in holding a theatricab show in a newly built playhouse ।

Here ends Chapter ITT of Bharata’s Natyaéastra, which treats of Paja to the gods of the stage.

ee ---- -----------------------

100-101 (B.103b-10-4a, G.101-102).

~:

CHAPTER FOUR DESCRIPTION OF THI; CLASS DANCE Brahman writes the first play and gets this performed.

1. After having worshipped [the gods presiding over the stage] I said to Brahman, “Tell me quickly, O the mighty one, which play should be performed 9”

2. [In,reply] I was told by the Lord, “Perform the Amrta- manthana (the Churning of the Ocean)? which is capable of stimu- lating efforts and of giving pleasure to gods.

ॐ. [have compored this Sumayakiira? which is conducive to [the performance of} duties (aime), to [the fulfillment of] desire (काव) as well as [to the earning} wealth (artha),”

4. When this Samavakdra was performed, gods and demons were delighted to witness actions and ideas [familiar to them}.

5. Now, in course of time Braliman (lit. the lotus-born one) said to me, “We shall present today the play before the greats souled Siva (lit. the three-eyed one)”:

6-7. Then on reaching along with other gods the abode of Siva (lit. the bull-bannered one) Brahman paid him respects and said, “O the best of the gods, please do me the favour of hearing and seeing the Samavakara which has been composed by me.”

8. “I shall enjoy it,” said the lord of gods in reply. Then Brahman asked me to get ready [for the performance].

9-10. "0. the best of the Brahmins, after the Preliminaries connected with the performance had been completed this

1 (BG. same)

2B.G. same). ' The legend about the churning of the ocean occurs in the Mbh. (J. 17-19.) and the Visnu ए. (1) See Winternitz, Vol. I

Pp. 889, 546. , 8 (B.G. same). `" See NS. XX. 69 ff. 4(B.G. same). ४ (B.G. same). 6-7 (8.6, same).

8 (BG. same). 9-10 (7.6. same). ,

46 THH NATYASASTRA { 1४. 10-

: (Samavakara named the Amrtamanthana) as well as 2 Dima? named the ‘Tripuradaha (the Burning of Tripura) was performed in the Himalayan region which consisted of many hills and in which there were many Bhiitas, Ganas® and beautiful eaves and waterfalls”.

11. Then all the [Bhitas] and Ganas were pleased to see actions and ideas familiar to them, and Siva too was pleased and said to Brahman :

12. “O the high-souled one, this drama (nafya) which is conducive to fame, welfare, merit and intellect, has been well. conceived by you. ।

13-14. Now in the evening, while performing it, 1 remem- bered that dance made beautiful by Afgaharas? consisting of different Karanas*. You may utilize these in the Preliminaries (piirruranga) of a play.

Two kinds of Preliminaries

14-16. In the application of the Vardhamanaka?, the Asirita’, the Gita® and the Mahagita you will depict properly the ideas [by means of dance movements]; and the Preliminaries which you have [just] performed are, called “pure” (suddha). [But] when

‘ dima—one of the plays of the major type ; for its characteristics see NS, XX. 84 ff,

9 Tripuradaha—Siva killed an Asura (demon) named Tripura by burning him with one of his fiery arrows, Hence he is called Tripurantaka or Tripurari. This legend occurs in the Varaha P. Seo JK. sub voce.

* BG. read dshucutadrumiakirne instead of bakebhitaganakivne,

11 B.G. same). 12 (B.G. same).

18-14 (B.G, same). 1 angehira—major dance figures which depend on minor dance figures (karanas) The word means ‘movement of limbs’

Ag. (1. 7. 91) explains it as अङ्गानां @mraz aafea प्रापण्प्रक्ासोऽक्नहारः wee ed हारः प्रयोगः, भङ्निब््या wiser,

° See below 29-30 note 1, Kor details about the Angahiras sss below 16 ff, 72 ff.

1416 (B.G. same). ' See NB. ए. 1215 note 8, See NS. ए. 21 note 1. * Bee NS. ए. 60-68 note 8.

-IV. 86 ] DESCRIPTION OF THE 0488 DANCE ˆ भ

these dances will be added to thom (pure Preliminaries) they wilf be called “mixed” (citra).

The Afgahras

16-17. To these words of Siva Brahman said in reply, “O the best of the gods, tell us about the use of the Angaharas.”

17-18, Then Siva (lit. lord of the world) called Tandu and said; “Speak to Bharata about the use of the Aigabaras.”

18-19, And by Tandu I was told the use of the Angaharas.

I shall now speak of them as well as of the various Karanas and Recakas}.

19-27. The thirtytwo Aagaharas are as followa :—Sthira- hagta, Paryastaka, Siicividdha, Apaviddha, Akisptaka, Udghattita, Viskambha, A parajita, Viskambhapasrta, Mattakrida, Svastikarecita, Parévasvastika, Vescika, Bhramara, Mattaskhalitaka, Madavilasita, Gatimandala, Paricchinna, Parivrttarecita, Vaisakharecita, Paravrtta, Alataka, Parévaccheda, Vidyudbhranta, Uddbrtaka, Alldha, Recita, KAcchurita, Aksiptarecita, Sambhranta, Upasarpita, Ardhanikuttaka.

Uses of the Angaharas

28-29. Ishall now speak about their performance depen- dent on the Karanas. [And besides this] “O the best of the Brah- ming, I shall tell you about the movements of hands and feet that are proper to the Aigaharas.

The Karanas

29-30. All the Angahdras consist of Karanas ; hence I shall nention the names of the latter as well as their descriptions.

16-17 (B.G. same), 17-18 (B. same, G.16).

18-19 (B. same, 0.17). ' Se below 247 ff

19.27 (B, same, G.18-27a).

28-99 (B. same, G.27b-28). > for details about Aarana see 80ff below.

29-30 (8. same G.29). 1 Asrana—minor dance figure. Ag. (1 93) plains the arana as THAN flied qaacefafs प्कदेदानिप्रापेख तु करसश्ष्दख nea सेने भोम इतिदत्‌ । ।

48 ` ` THE NATYASASTRA [ IV. 90,

30.84. The combined [movement of] hands and feet in dance is called the Karana: Two Karanas will make oné Matrka, and two, three, or four Matrkis will make up one Afgahara. Three Karanas will make a Kalapaka. four a Sandaka?, and five a Samgha- taka.” Thus: the <Angahiras consist of six. seven, eight or nine Karanas. I shall now speak of the hand and feet movements making up these (Karanas). an

31-55. The Karanas are one bundred and eight in number and they areas follows: Tilapuspaputa, Vartita, Valitoru, Apaviddha, Bimanabkliss Lina, Svastikarccita, Mandalasvastika, Nikuttaka,’ Ardhanikuttuka, Katicchinna, Ardharceita, Vaksehsvastika, Un- 0 Prsthasvastika, Diksvastika, ह्यत, Kattsama, Aksiptareeita, Viksiptaksipta. rdhasvastika, Aiicita, Bhujahgatra- sita, Ordhvajinu, Nikufivita, Matalli, Ardhamatalli, Recakanikuttita, Padapaviddhaka, Valita, Ghit pita, Lalita, Dandapaksa, Bhujanga- trastarecita, रपा) Vaitikharecita, Blramaraka, Catura, Bhue jangaiicitaka, Dan Lusurecita, Vy‘cikukuttita, Katibhrinta, Lata. vyScika, Chinna, Vrécikarecita, WVrscika, Vyamsita, Pargvani- kuttana, Latatatilaka, Krantaka, Kuiicita, Cakramandala, Uroman- dala, Aksipta, Talavilasita, Argala, Viksipta, Avrtta, Dolapada, Vivrtta, Vinivrita, Parsvakriinta, Nigambhita, Vidyudbhranta, Atikrinta, Vivaititaka, Cajakridita, Talasamsphotita, Garuda- plutaka, Gandasticl, Psiivrtta, Parsvajanu, Grdhravalinaka, Samnata, Stic, Ardhasici, Sitcividdha, Apakranta. Mayivalalita, Sarpita. Dandapada, Unriaapluta, Preakholita, Nitamha, Skhalita, Karihasta, Prasarpite, Simbakridita, Simhakarsita, Udvrtta. Upasrta, ‘Talasamghattita, Janita, Avahitthaka. Nivega Elakakridita, Uriidvrtta, Madaskhatita, Visnukianta, Sambhrinta, Viskambli, Udghattita, Vesabiakiilita, Lolitaka, Nagapasarpita, Cakatisya, लयो पवा, [Phe.e Karanis will he used] in dance, fight, personal combat. walking as well 2६ movements in gencral,

56. Foot movements which have been prescribed for : Be a ne Ne ARE a a =. -------~--------------~--.----~ , 80-34 ( 1. same, 0. 30-33\, 1 १५244], , read mandaka. £4-55 (B.34-55a, 56a, 4.34-54) 56 (B.59, G.167),

-TV. 62] DESORIPTION OF THE CLASS DANCE 49

the exercise of Sthanas? and Caris?, will apply also to these Karanas®.

57. And application of the Nrttashastas? which have been prescribed for dance is generally implied in the Karanas.

58. The Sthanas, the Caris and the Nrtta-hastas mentioned [before] are known as the Matrkas the variations of which are called the Karanas.

* 59. I shall treat the Caris suitable for [representing] fight at the time of discussing the foot movements. The master [of dramatic art) should apply them on any occasion according to his histrionic talents.

60. In the Karana the left hand should generally be held on the breast, and the right hand is to follow the [right] foot.

61. Listen [now] about the movement of hands and feet in dance in relation to that of hip, sides, thigh as well as to breast, hack and belly}.

Definition of the Karanas.

62. Talapuspapnta—Puspaputa hand held on the left side, the foot is Agratalasaficara, the side is Sannata (Nata)?.

१ See NS, XI. 49 ff. ? 8०० NS, XI. 2 ff.

3 B.G. read one hemistich more before 56a. It does not oceur in some mss. Ag. records this fact. Though these 108 £avanas constitute general danee, which is sometimes interpolated in ‘the acting to fill up its gaps, they (Laranas) may be also used to embellish the movement of limbs in fights of any kind. Ag. (I. p. 96) says भभिनये age वत्यलिऽभिनयानतरालव दवदरप्रष्ठादनादौ तत्‌ myer, wenfege बाहवुरे प्रयीगः सौषटवाधैमपि तत्‌ प्रयुज्यते ; besides this he says tanugatisthitisammilite karanam (I. p. 97)

57 (B.171, G.56a, 168). 1 For artahastas seo NS. 1X. 177 ff.

58 (B.173, G.170). 59 (B.56b-57, 68.56).

60 (B.57b-58a or 172, G.169).

61 (B. 58b-89a, 0.87). 1 For B.60 (G.58) omitted see NS. XI. 90-91

62 (8.61, 6.59), =" For the sake of convenience constituent parts of the Revanas have been separately mentioned without putting them in a cumbrous sentence. This method has been followed by A. K. Coomara- swamy in MG. As the definitions of these parts can be casily traced through the index they have not been referred to in the notes.

7

50 THE NATYASASTRA (1१. 68. `

63, Vartita—Vyavrtta (= Vyavartita) and Parivartita hands bent at the wrist, then these hands placed on thighs.

64, Valitoru—Sukatunda hands to make Vyavartita and Parivartita K., and thighs are Valita.

65. Apaviddha—the (right) hand with Sukatunda gesture to fall on the (right) thigh, the left hand held on the breast.

"66. Samanakha—the two Samanakha’ feet touching each

other, two hands hanging down, and the body in natural pose.

67, Lina—the two Pataka hands held together in Afijali pose on the breast, the neck held high, and the shoulder bent.

68. Syastikarecita—two hands with Recit’ and Aviddha gesture held together in the form of a Svastika, then separated and held on the hip.

69. Mandalasvastika—two hands moved to unite in the Svastika gesture with their palms turned upwards in ते similar manner, and the body in the Mandala Sthana (posture).

70, Nikuttaka—each of the hands to be moved up and down? alternately between the head and another arm, and the legs also moved in a similar manner.

71. Ardhanikuttaka—hands with Alapallava’ gesture bent towards shoulders, and legs moved up and down:

72. Katicchinna—the hip serially in the Chinna pose, two Pallava hands held alternately and repeatedly on the head,

68 (B.62, ८.९0) 64 (B.63, 7.61) 65 (B.65, G.62) 66 (7.९5, 0.69).

। ॥ ' samanakha foot has nowhere clse been mentioned in the Ns.

87 7.66, 0.64). 68 (B.97, 0.65). 69 (B.68, G.66).

10 eae 6.07. | urkuthita=ntkuttana. Ag. (I. p. 108) quotes the definition of mikultana from Kohala as follows: snnamanam winamanam Syd ahgasya nikutlanam. | । ।

: 71 (B.79 0.68), 1 For kuhcita BG. read ahcita, But Ag. (1. p. 204) cread Ae‘icita'and means by this word the alapallava gesture, 12 (B.71, (69).

a

-IV. 88] DESORIPTION OF THE CLASS DANCE 51

78. Ardharecita—hand with Siicimukha? gesture to move freely, feet to move alternately up and down, side in Sannata (ie. Nata) pose.

74, Vaksahsvastika—two legs on each other in the form of a Svastika, the two Recita hands brought together in a similar manner on the breast which is bent (nikwncita),

75. Unmatta—feet to be Aiicita and hands to be Recita.

76. Svastika—hands and feet respectively held tovether in the Svastika form.

27. Prsthasvastika—two arms after being thrown up and down coming tegether as a Svastika, two feet also to come together as a Svastika with Apakranta and Ardhasiici Caris.

78. Diksvastika—turning sideways and towards the front in course of a single (lit. connected) movement. and forming Svastika with hands and feet.

79. Aldta—after making Alata Cari? taking down hand from [the level of] the shoulder’, then making Urdhvajanu Cari’.

80. Katisama—feet to be separated, after the Svastika Karana, of the two hands one to be placed at the navel and the other at the hip, and the sides in the Udvahita pose.

81. Aksiptarecita—the left hand on the heart, the right hand Recita and thrown up and sideways, and then the two hands ` to be Recita with Apaviddha (Aviddhaka) gestures,

82. Viksiptaksiptaka—hands and feet first thrown up, then again thrown down.

83. Ardhasvastika—the two feet to make the Svastika, the

78 (B.73, G.70). 1 By apavaddha Ag. (1. p. 105) means the stici- mukha geature.

74 (B.74, G.71). 75 (13.75, U.72). 76 (12.76, G.73).

77 (B.77, G.74). 78 (B.78, G.75).

79 (B.79, G.76). = । carana=curi. ५ vyamsayel=amsid 2010115 kramanam kuryat (Ag). + krama=can.

80 (१.80, U.77). | advakiza side’ is nowhere else mentioned in the Ns.

81 (B81, ७. 78). 82 (B,82, (५7४) ४३ (1.88, ७.५५).

59 THE NATYASASTRA CIV. 88.

right hand making the Karihasta gesture, and the left one lying on the breast 84, Aficita—in the Ardhasvastika the Karihasta to be alternately in Vyavartita (Vyavetta) and Parivartita movement, and then bent upon the tip of the nose. 85, Bhujaigatvisita—the Kuiicita fect to be thrown up, the thighs to have an oblique Nivartaua (Nivetta)? movement, the hip

and the thigh also to have the same movenient.

86. Urdhvajinu—a Kuiicita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the breast, and the two hands to be in harmony with the dance,

87. Nikuiicita—fect to be moved as in the Vrécika K., two hands to be bent at the sides, the right hand to be held at the tip of the nose

88. Matalli—making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udvestita and Apaviddha movement,

89. Ardhamatalli—feet to be drawn away from the position in the Skhalita K., left hand Recita, and afterwards to be put on , the hip,

90. Recitanikuttita—the right hand to-be Recita, left foot Udghattita (= Nikuttita), and the left hand with Dola gesture.

84 (B.84, G. 81). €5 (B.84, (7.82). | Nor ntvarlayet, B. Ct. read vivartayet, and for miorttam B, vivrttam and G. vtvartic 86 (B.86, G.83)

87 (B.87, ५.8४). | Vor णद karana, BG. read orgcike carana But Ns. does not know any carana or दधि of this name, while a K of this name ceeurs, and one Ravana is very often used to define another karana; sec texts fur 84 above, 103 and 107 below. In all these cases some mss. read karana instead of carana,

88 (8.88, ७.8४).

89 (B.89, 0.86). | skhalitipasrtin padan toot drawn away from the position of the skhalita K.

90 (B.90, 0.87). । According to Ay. udghatita = askuttti for

which see above 70 vote,

1४. 1001 == DESORIPHION OF THE OLASS DANUE 88

91. P&dapaviddhaka—the Katakamukha hands with their , back against the navel, and feet to bein स्रत and [then] the Apakranta Cari 92. Valita—hands to be Apaviddha, feet to be in Sci Cari Trika turned round [in the Bhramari Cari]. 93. Ghiirnita—the left hand in Valita and moved round, the right hand with Dola gesture, and the two feet to be drawn away from each other from the Svastika position.

94, Lalita—the left hand with Karihasta gesture, the right one to be again turned aside (Apavartita), two feet to be moved up and gown.

95. Dandapaksa—observing Urdhvajanu Cari, Lata hands to be placed on the knee.

96. Bhujafgatrastarecita —the feet to be in Bhujaigatrasta Cari, the two hands to be Recita and moved to the left side.

97. Niipura—the Trika to be gracefully turned round, [in the Bhramari Cari] the two hands to show respectively Lata and Recita gestures, and the Nipurapada Cari with the feet.

98. Vaisakharecita—hands and feet to be Recita, so the hip and the neck, and the entire body in Vaigékha Sthana (posture).

90. Bhramaraku—vastika feet in Askipta Cari, hands in Udvestita movement, and ‘Trika! turned round {in the Bhramari Cari},

100. Catura—the left hand with Aiicita, (ix. Alapallava)? gesture, the right hand is with Catura gesture, the right feet in Kuttita (ie. Udghattita) pose.

91 (B91, 6.88). 92 (B.92, G.89),

98 (B.98, G.90). । For ००0४2. BG read vartita,

04 (13.94 8.91). ` See NS. 1X. 191.

95 (B.95, ७.५४). 96 (B.96, ७.98). 97 (8.97, 0.94).

98 (8.98, ७.9४).

99 (2.99, 6.96). | ‘Trika used here and many times afterwards means the érskastht (sacrum) the lowest point in the vertibral column where the two other bones of the legs nieet.

100 (B.100, G.97). । This is Ag’s interpretation of Ajeita.

” This is Ag’s interpretation. +

bi THE NATYASASTRA CIV. 101-

101. Bhujaigaiicita—the feet in Bhujaigatrasita Cari, the right hand Recita, the left hand with Lata gesture.

102. Dandakarecita—hands and feet to be freely thrown about on all sides like a staff (dunga), and the same hands and feet to be Recita afterwards.

103. VrScikakuttita—assuming the Vrécika K. and the hands with Nikuttita movement.

104. Katibhranta—the Sict Cari, the right hand with the Apaviddha (Aviddha) gesture and the hip to be moved round.

105. Latavrscika—a foot to be Ajicita and turned back- wards, and the left hand to be with Lat&é gesture ite palm and fingers bent and turned upwards.

106. Chinna—the Alapadma hand to be held on the hip which in Chinna pose, the body in the Vaisakha Sthana (posture).

107. Vrécikarecita—assuming the Vrécika K., the two hands in the form ofa Svastika gradually to be Recita and to show Viprakirna gesture.

108, Vrécika—the two hands bent and held over the shoulders, and a leg bent and turned towards the back?.

109. Vyamsita—assuming Alidha Sthana, the two ‘hands to be Recita and held on the breast and afterwards moved up and down with Viprakirna gesture.

110. Parévanikuttaka—Svastika bands to be held on one side, and the feet to be N ikuttita.?

111 Lalatatilaka—after assuming the Vrécika. K. a mark (tilaka) in tae forehead to be made with a great toe.

112. Krantaka—-bending & Kuicita leg behind the back, the Atikriinta Cari, then the two hands tu be thrown down,

101 (B.101, ७५.9९). 109 (B.102, G.99),

103 (B.103, (100), ' See above 70 note, 104 (B.104, G.101). 105 (B.105, ५.0४). 106 (B.1U6, 6.08). 107 (B.107, G.104).

1u8 (B.L0g, G15), | Ag. interprets the Passage differently.

109 (9109, G.106). 110 (1.1 10, (;,107), See above 70 note 111 (8111, G.108). 119 (१,112, G.109), ।

TY. 124 ] DESGRIPTION OF THE CLASS DANCE 55

118. Kuiicita—a leg to be first Aiicita and left hand to be held on the left side with its palm upwards.

114, Cakramandala—the inner Apaviddha (Addita)? Cari with the body bent and held down between the two arms hanging straight.

115. Uromandala—two feet drawn away from the Svastika position and used in Apaviddha (Addita) Cari and hands in Uréman dala gesture.

116. Aksipta—hands and feet to be thrown about swiftly in this Karana.

117. Talavilasita—foot with the toe and the sole turned upwards and held high on the side, and the palm of hands bent.

118. Argala—feet stretched backwards and kept two Talas and a half apart, and hands moved in conformity with these.

119. Viksiptamhands and feet to be thrown backwards or sideways in the same way.

120. Avarta—the Kuiicita feet put forward and the two hands moved swiftly to befit the dance.

121. Dolapaida—the Kuiicita fect thrown up, and two hands - swinging from side to side in a manner befitting the dance.

122. Nivrtta—hands and feet first thrown out, and Trika to be turned round and the two hands to be Recita.

the

123. Vinivrtta—observing the Siici Cari, the Trika to be turned round and hands to be Recita.

124. Pargvakrinta—observing the Pargvakranta Cari, throwing out hands towards the front, and moving them in a manner befitting the dance.

113 (B.113, G.110).

114(B.114, G.111). | Aceording to Ag. apaviddha=addita (द for which see NS, XJ. 22. 115 (B.115, G11).

116 (B.116, G.113). 117 (B.117, G.114). 118 (B.118, G.115). 119 (B.119, G.116). 120 (B.120, G.117). 121 (B.121, G.118). 122 (B.122, 6.19). 1 For ९८८९, B. reads vévrtta.

128 (B.123, 0.120), = 194 (B.124, 0.121).

56 THE NATYASASTRA LIV, 196.

125. Nisumbhita—a foot bent towards the back, the breast raised high, and the hand held at the centre of the forehead (filaka).? 126. Vidyndbhranta'—foot turned backwards and the two hands in the Mandalaviddha® gesture stretched very close to

the head.

127. Atikranta—observing the Atikranta Cari, the two hands stretched forward in a manner befitting the dance.

128. Vivartitaka—hands and feet to be thrown out, the Trika to be turned round and hands to be Recita

129. Gajakridita—the left hand bent and brought near the fleft] ear, and the right hand in Lata gesture and the fect Dolapada Cari.

1:30. Talasamsphotitat—a foot to be swiftly lifted up and put forward, the two hands showing Talasamsphotita? gesture.

131. Garudaplutaka—the two feet to be stretched back- wards and the two hands --right and left—to be respectively with Lata and Recita gestures, and the breast raised up.

132. Gandasiici—the fect to be in Siici position, the side to be Unnata, one hand to be on the breast and the other to bend and touch the check.

133. Parivrtta—the hands raised in Apavestita gesture, the feet in Siici position, the Trika is turned round (in the Bhramari Cari).

134. ParSvajanu---one foot in Sama position and the opposite thigh raised, and one Musti hand on the breast.

185. Grdhravalinaka—one 00४ stretched backwards and one knee slightly hent and the two arms outstretched,

125 (B.125, G.122). | Ag. interprets differently 126 (B;126, G.123). 1 Ag. interpreta differently. 2 Nowhere defined in NS, 127 (B.127, G.124). 128 (B.128, G.125). 129 (B.129, G.196). 180 (B.130, 0.12). । Ag. interprets the passage, differently. * Defined nowhere in N&, ५ 131 (B.131, G.128). ` 139 (B82, G.129). 158 (B.188, G.130). 134 (B.134, G.131). 185 (B.138, G.139),

IV, 145) DESCRIPTION OF THE CLASS DANCE 57

136. Sannata—after jumping, the two feet are to he put forward in Svyastika form and the two hands to show Sannata? (1.९. Dol&) gesture:

187. Siici—a Kuiicita foot to be raised and put forward on the ground, and the two hands to be in harmony with the per- formanee.

° 138. Ardhasiici—the Alapadma hand is held on the head, the right foot is in Siici (karana) position.

139, Siitividdha—one foot of Siici Karana being put on the heel of another foot, the two hands to be respectively put on the waist and the breast.

140, Apakranta—after making the Valita thigh, Apakranta Cari is to be performed, the two hands to be moved in harmony with the performance,

141. Mayiiralalita—after assuming the Vrécika K. two hands to be Recita, and the Trika to be turned round [in the Bhramari Cari],

142. Sarpita—the two feet to be moved from the Aiicita position and the head with Parivahita gesture, and the two hands are Recita.

148. Dandapida—after the Nipura Cari, Dandapada Cari should be observed and the aviddha (vaktra) hand should be shown quickly. ।

144, Harinapluta—after observing the Atikranta Cari one jumps and stops, ard then one of the shanks are bent and thrown up.

145. Prenkholitaka—after observing the Dolapada Cari one is to jump and let the Trika turn round (in the Bhramari Cari and come at rest.

136 (B.136, G.133). | According to Ag. Sannata=Dolahasta. 187 (B.137, @.134). 138 (B.138, G.138). 140 (B.140, 6.18). 141 (B.141, 6.138). 142 (B.142, G@.139). 143 (B,143, G.140). 144 (B.144, G.141) ` 146 (B,143, G.142). ! Defined nowhere in NY, 8

58 THE NATYASASTRA [ IV. 146

146, Nitamba—arms to be first thrown up and hands to have ` their fingers pointing upwards and the Baddha Cari to be observed. 147, Skhalita - after observing Dolapada Cari, hands with

Recita gesture to be turned round in harmony with this.

148. Krihasta—the left hand is to be placed on the breast, the palm of the other hand to be made Prodvestitala, the feet to be Aiicita.

149. Prasarpitaka—one hand to be Recita and the other with Lata gesture, and feet to be Samsarpitatala (= Talasaiicara),

150. Simhavikridita—after observing the Alata Cari one is to move swiftly and hands to follow the feet.

151. Simhakarsita—one foot to be stretched backwards and hands to be bent and turned round in the front and again to be bent.

152. Udvrtta—hands, feet and the entire hody to be moved violently (lit. thrown up) and then Udvrtta Cari to be observed.

153. Upasrtaka—observing Aksipta Cari and hands in harmony with this Cari.

154. Talasamghattita—observe the Dolapada Qari two palms will clash with each other and the left hand to be Recita. :

155. Janita—one hand to be on the breasti, the other hanging loosely and observing Talagrasamsthita (Janita) Cari.

156. Avahitthaka—after observing Janita K. raising hands with fingers spread out and then letting them fall slowly.

157. Nive‘a—the twe hands will be on the breast which

should be Nirbhngna and the dancer should assume Mandala Sthana (posture),

146 (7.146, G.143), = 147 (B.147, G.144), = 148 (B.148, G.148). 149 (B.149, G.146), = 150 (B.150, 60.144). = 181 (B.151, G.148). 152 (B.152, G.149). 153 (188, 6.150). 154 (B,154, G.151).

155 (B.155, @.152), 1 According to Ag, Tslagrasamsthita pada means Janita Cari.

156 (B.156, G.153), 157 (B.157, G.154),

-IV. 167 ] DESORIPTION OF THE GLASS DANCE 59

158. Elakakridita—jumping with Talasaticarat fect and coming to the ground with the body bent and turned.

159. Uriidvrtta—a hand made Avrtta (Vyavartita) and then bent and placed on the thigh, shanks made aiicita‘and Udvrtta.

160. Madaskhalitaka—two hands hanging down, the head assuming the Parivahita gesture, the right and the left fect to be turned round in Aviddha Cari.

* 161. Visnukranta—a foot stretched forward and bent as if on the point of walking, and hands to be Recita.

162. Sambhranta—a hand with Avartita (Vyavartita) move- ment placed on the thigh which is made Aviddha.?

163, Viskambha—a hand to be Apaviddha,? Stici Cari, foot to be made Nikuttita and the left hand on the breast.

164, Udghatta—feet to in Udghattitat movements and hands in Talasamghattita movement? are to be placed on two sides,

165. Vrsubhakridita—after observing the Alata Cari two hands to be made Recita, and afterwards these should to be made (प्रचा and Aiicita. :

166. Lolita—hands on the two sides to be Reicta and

Aficita, and the head Lolita, and Vartita. 167. Nagipasarpita—to draw back feet from Svastika position and the head to be Parivahita and hand to be Recita.

158 (B.158, 6.155). > Same as agratalasaiicara, sce NS. X. 465

159 (B.159, G.156). 160 (B.160, G.157).? Defined nowhere in NS. 161 (B.161, G.158).

169 (B.162, G.159). ' Defined nowhere in N s 163 (B.163, G.160). ! Defined nowhere in NS, 164 (B.164, G.161). ' Defined nowhere in NS.

* Defined nowhere in NX. 165 (B.165, G.162). ` Defined nowhere in NS. 166 (B.166, G.163).

167 (8.167, G.164). ' Defined nowhere in NS

60 THE NATYASASTRA : LIV. 196.

168. Sakatasya—beginoning with body at rest, advancing with a Talasaficara? foot and making the breast Udvahita,?

169, Gangavatarana—foot with the toes and the sole turned upwards, hands showing Tripataka with the fingers pointing down- wards and the head being Sannata.?

The Angaharas

170. I have spoken of one hundred and eight Karanas. I shall now describe the different Angaharas.

171-173. Sthirahasta—stretching two arms and throwing them up, taking up Samapada Sthana, the left “hand stretched upwards from the level of the shoulder, taking up afterwards the Pratyalidha Sthina, then observing successively the Nikuttita, Uriidvrtta, Aksipta, Svastika, Nitamba, Karihasta and Katiechinna, Karanas.

174-176. Paryastaka—observing Talapuspaputa, Apa- viddha, and Vartita Karanas, then takiug up Pratyalidha Sthana, then assuming Nikuttaka, Urtidvrtta, Aksipta, Uromandala, Nitamba, Karihasta, Katicchinna, Karanas.

176-178. Sticividdha—after showing Alapallava (Alapadma) and सततत (mukha) gestures assuming one after another Viksipta. Avartita, Nikuttaka, Urtdvrtta, Aksipta, Urnomandala, Karihasta, and Katicchinna Karanas.

178-180. Apaviddha—Apaviddha and Siicividdha Karanas, then observing Udvestita K. with hands and turning the Trika,

168 (B.168, G.165). ' See above 188 note. B. reads udghatita, 169 (B.169, G.166), 1 Defined nowhere in Ns.

? Defined nowhere in NN.

१ For B.170-174 and G.167-170 see 56-61 before.

170 01.174, 60.171) ' Defined nowhere in NS,

171-173 (.175-177, G.179-1 74). 1 Dejinition of the angaharas

have been translated like the Aaranas ; above sec. 62 note. Anghaxes are mostly combinations of the karanas.

174-176 (B.17-180a, G.175-176). ' ©. Omits 1750. 176-178 (B, 1800.-162५, G.177-] १५५). 178-130 (B.L82b-184a, G .L79b-180),

“IV. 496] DESORIPTION OF THE CLASS DANCE 61

showing with hands Uromandalaka gestures and assumiug Kati- chinna Karana.

180-182. Aksiptaka—assuming successively Niipura, Vik. sipta, Alataka, Aksipta, Uromandala, Nitamba, Karihasta and Katicchinna Karanas

182-184. Udghattita'—-moving Udvestita and Apaviddha (Aviddha) hands and the two feet to be Nikuttita, and again changing them to Uromandala gesture and then assuming ‘succes- sively Nitamba, Karihasta and Katicchinna Karanas,

184-187. Viskambha—hands by turns made Udvestita, feet .are successively made Nikuttita and bent, then assuming Urudvrita K. hands to be made Caturasra? and feet Nikuttaka, assuming then Bhujangatrasita K. hands to be made Udvestita, assuming Chinna and Bhramaraka Karanas while Trika is to be moved, then Karihasta and Katicchinna Karanas to be assumed

187-190, Aprajita—assuming Dandapada K., hands having Viksipta and Akspita? movement, then assuming Vyamsita K. the left hand moving along with the left foot, then hands being Catu- rasra and feet having Nikuttaka movement, assuming Bhujangatra- sita K. and hands having Udvestita movement, then assuming successively the two Nikuttakas (i. €. nikutta and ardhanikuttaka), Aksipta, Uromandala, Karihasta, and Katicchinna Karanas

190-192. Viskambhapasrta—assuming Kuttita and Bhu- jaiga trasita Karanas, Recita hand to show the Pataka gesture, then to be assumed successively Aksiptaka, Uromandala, Lata, Katiccheda Karanas.

192-195. Mattékrida—assuming Nipara K.: by turning Tirka, then assuming Bhujangatrasita K. assuming next Recita K.

180-182 (B.184b-186a, G. 181-182)

182-184 (B.186b-188a, G.188-184). ' In the definition of aigahkara this term has been equated with #réfa or dance.

184-187 (8. 1880-1919, G.185-187). ' Detined nowhere in NS. 187-190 (B.19Lb-194a, G.188-189). ! Defined nowhere in NS. 190-192 (1B,194b-196a, G.190-191). 192-195 (B,196b-199a, G.192-194).

a THE NATYASASTRA [ tv, 167.

with the right foot, and then assuming successively Aksiptaka, Chinna, Bahyabhramaraka, Uromandala, Nitamba, Karihasta, Katiccheda Karnas.

196-197. Svastikarecita1—hands and feet are Recita, then assume Vrécika K. and again repeat this movement of the hand and feet, and then Nikuttaka K. and the Lata gesture alternately with the right and the left hand, and then Katicchinna K. ।

197-200. ParSvasvastika—assuming (Dik-) Svastika from one side and then the Ardhanikuttaka, all these to be repeated on the side, then the Avrtta (vyaavartita) hand to be .placed on the thigh, then to assume successively Urudvrtta, Aksipta, Nitamba, Karihasta and Katiechinna Karanas.

200-202. Vrécikapasrta—assuming Vrécika K. holding the Lata band to he held on the nose, after moving the same hand in Udvestita movement, then assuming successively Nitamba, Karihasta and Katiechinna Karanas.

202-204, Bhramara—assuming successively Niipurapada Aksiptaka Katicchinna, Siicividdha, Nitamba, Karihasta, Uro- mandala and Katicchinna Karanas.

204-206. Mattaskhalitaka—asuming Matalli K. and moving round the right hand and bending and placing it near the (right) cheek, then assuming (successively) Apaviddha. Talasamsphotita, Karihasta and Katicchinna Karanas.

206-208. Madavilasita—moving with Dola hands and Svastikapasrta feet, making hands Aiicita as well as Valita and then assuming successively Talasamghattita, Nikuttaka, rudvrtta, Karihasta and Katicchinna Karanas.

ne न 195-197 (B.199b-201a, G.195-196), 1 In the translation of this K. Ag. has been followed.

197-200 (B.201h-204a, G,197-199). In the translation of this K. I have followed Ag.

200-202 (B.204b-206a, G.200-201), 202-204 (B.206b-208a, 0.202-208). 204-206 (B.208b-210a, G.204-205), 206-208 (B.210b-212a, 206-207).

-IV, 228 DESCRIPTION OF THE CLASS DANCE 68

208-210, Gatimandala—after assuming Mandala Sthanaka and making the hands Recita and the fect Udghattita assuming successively कथिता. Aksipta, Uromandala and Katiccheda Karanas.

210-212. Paricchinna—after the Samapada Sthan? assum ing Paricchinna (i.e. Chinna) K then with Aviddha foot assuming Bahya Bhrame .ka’ and with the left foot assuming Siici K. and than observi’ (successively) Atikranta, Bhujahgatrasita, Karihasta and Katice!. ana Karanas.

212-216, Parivrttakarecita—holding on the head hands in loose Svastika form and them after bending the body the left hand to be made Recita, and raising the body, again the same hand to be made Recita, after this hands to show Lat& gesture and assuming successively Vr¢cika, Recita, Karihasta Bhujahgatrasita, Aksiptaka Karanas then have Svastika foot; all this to be repeated after turning back completely, then assume (successively) Karihasta.

216-219. Vaisakharecita—along with body the two hands to be made Recita and all this is tobe repeated with the body hent. then observe Nipurpida Cari and Bhujangatrasita, Recita, Mandalasvastika, afterwards bending shoulder Uriidvrtta, Aksipta Uromandala Karihasta’ and Katicchinna Karanas are to be assumed,

219-221. Paravrtta—assuming Janita K. and putting for ward a foot, then assuming Alataka K. and turning the Trika, [in the Bhramri Cart] afterwards the left hand bend and to on the cheek, then assuming Katicehinna Karana.

208-210 (B.212b-214a, G.208-209).

210-212 (B.21-4h-216a, (४. -10-911). | According to Ag (Lp.152) bihya bhramaraka scoms to mean a cari of that name. But it scoms that by this bAramaraka, the movement known as dhvamari has becn nant. See M. Ghosh AD, 289 also A. 1९, Coomaraswamy. MG. 7.74. ;

212-216 (B.216b-220a, G-.212-215), 216-219 (B.220b-223a, G.216-218). 219-221 (B.228b-225a, G.219-290),

64 । THE NATYASASTRA [ IV, 991..

991-293, Alataka—assuming Svastika, vyamsita [in it hands being Recita], Alataka, Ordhvajanu, Nikuicita, Ardhasiict, Viksipta, Udvrtta, Aksipta, Krihasta and Katicchinna Karanas one after another.

993-925, Parévaccheda~-holding Nikuttita hands on the breast assuming Urdhvajanu, Aksipta, Svastika Karanas, ‘Trika to be turned round, then Uromandala, Nitamba, Karihasta and Katicchinna, Karanas to be assumed.

226-227. Vidyudbhrinta—assuming Stict K. using the left foot first, and Vidyubhranta Ix, using the right, foot first, then उत्वं K. with the right foot moved first, and Vidyudbhranta with the left foot moved first, afterwards assuming Chinna K., and turning round the Trika, then Lata and Katicchinna Karanas.

227-229, Udvrttaka—-assuming Nipurapaida Cari hanging the right and the left hands by the side, and with them assuming Viksipta K., with these hands assuming [again] Siici K., and turning round the Trika [in Bhramari Cari] and then assuming Lata and Katicchinna Karanas.

229-231. Alidha—assuming Vyamsita K,, striking the hands on the shoulder, and then Nipura K, with the left foot [moving first], afterwards Alita and Aksiptaka Karanas with the right foot [moving first} and then making Uromandala gestures with hands and assuming Karihasta and Katicchinna Karanas.

231-238, Recita—showing Recita hand, bending it on one side and making the [same] Recita movement and then repeating this movement after bending the entire body, assuming succes sively Nipurapada, Bhujahgatrasita, Recita, Uromandala and Kati- echinna Karanas. न .

221-228 (B.225b-227a, G.221-222), 223-225 (B.227b-229a, G.223-224), 225-927 (B.229b-231a, ७.225-226). 227-229 (B,231b-233a, G.227-298), 229-231 (B.238b-235a, 6.229.930). 231-233 (B.235b-237, @.231-282), „

“TV, 947] DESCRIPTION OF THE CLASS DANCE 65

234-285. व Nipura K. and turning the Trika round, assuming Vyamsita K. and ogain turning round the Trika, then assuming successively Alataka? K. from the left {side] and इल, Karihasta and Katicchinna Karanas.

236-238, Aksiptarecita—Svastika feet to be in Recita and so the Svastika hands, then with the same (i.e. Recita) movement they should be separated; and with the same Recita movement they are*to be thrown up, then assuming successively Udvrtta, Aksipta, Uromandala, Nitamba, Karihasta and Katicchinna Karanas.

239-241. Sambhranta— assuming Viksipta K. throwing out the left hand with Siici gesture, the right hand placed on the breast, Trika to be turned {in the Bhramari Cari] then assuming succes- sively Niipura, Aksipta, Ardhasvastika, Nitamba, Karihasta, Uromandala and Katicchinna Karanas,

242-248. Apasarpita—observing Apakranta Cari and assuming Vyamsita K. with the hands moving in Udvestita manner, then assuming successively Ardhastici, Viksipta, Katic chinna, Udvetta Aksiptaka, Karihasta and [again] Katicchinna Karanas.

244-245. Ardhanikuttaka ~-observing swiftly Niipurapadika Cari, hands to move in harmony with the feet and Trika to turn round [in the Bhramari Cari], then hands and feet to make Nikuttita movement, afterwards assuming Uromandala, Karihasta, Katicchinna and Ardhanikuttaka Karanas.

The Recakas

246. I have spoken of these thirtytwo Angaharas ; I shall now describe the four Recakas? ; please listen about them :

247, Among the Reeakas the first is that of the foot (pada),

234-235 (B.238-239, G.283-234). | Read vamam cilatakam for padam cilitakam in B. 236-238 (B.240-242, G-.235-237). 939-241 (B.243-245, G.238-240), 242-248 (B.246-247, G.241-2:42). 244-345 (1.248-249, G.243--244), 246 (B.250, G.245). } For the iclation between Reeakas and the Atgaharas and the use of the Reeakas see Ag, 247 (B.251, G.246),

66 THE NATYASASTRA [ IV. 248:

the second is that of the waist (4adi), the® third is that of the hand (hasta) and the fourth is that of the neck (iva)

248, ‘The term Recita [relating to a limb] means moving it round separately (ic. not in any Karana or Cari) or its drawing up or its movement of any kind separately.

249, Pada-recaka—Going from side to side with wavering feet or with differently moving feet, is called their Recaka

250. Kati-recaka—Raising up the Trika and the turning of the waist as well as its drawing back, is called the Kati-recaka.

251. Hasta-recaka—Raising पु) throwing out, putting forward, turning round and drawing back of the hand is called its Recaka.

252. Griva-recaka—Raising up, lowering and bending the neck sideways, and other movements of it are called its Recaka

58-254. Seeing Samkara (Siva) dance with Recakas and Aagaharas, Parvati too performed a Gentle Dance (lit. danced with delicate forms)?, and this dance was followed by the playing of musical instruments like Mrdahga,£ Bheri, Pataha, Bhambha?, Dindima, Gomukha, Panava and Dardura.

255. (Besides on this occasion] Mahegvara (Siva) danced in the evening after the break-up (lit. destruction) of Daksa’s_ sacri- fice? with different Angaharas and in conformity with proper time beat (tala) and tempo (/ayr).

248 (B.252, G.247). 249 (B.253, G.248).

960 (12.254, 06.249). 251 (13.255. 6250). 252 (B.256, G.251).

253-254 (B.257-258, G.252-253). | Read wrlyants sma ca pirvats Ag. T. p. 202.

2 mrdaiga, bheri, pataha, bhambha, dindima, dardura and panava are drums of different sizes and shapes, and’ made of different: materials such as clay, wood ete. Of these bheri, panava and gomukha (possibly a horn) have been mentioned in the Bhagavad-gita, ch. 1.13.

2 B. read shanjhyis (pa. bambhia)

255 (B,259, G.254), 1 The story of the break-up of Daksa’s sacrifice occurs in two different forms in the Bhigavata and the Varaha P, ee JK. under Daksa, ‘

IV. 268 J DESCRIPTION OF THE CLASS DANCE 6?

256. Ganas like Nandin and Bhadramukha seeing then fin course of this performance of Siva], Pindtbandha? (of different dance forms] gave names to them [and imitated these] well.

257-263, Names of Pindis specially attached to different gods and [goddesses are as follows] : Siva—Vrsa, Nandin - Pattist, Candika (Kali)—Simhavahini, Visnu—Tarksya, Svayambhu— (Brahman)—Padma (lotus), Sakra (Indra)—Airavati, Manmatha —JShaga, Kumara (Kartikeya)—Sikhi (peacock), Sri (Laksmi)—Ulii (owl), Jabnavi (Ganga)—Dhara, Yama—Pisa, Varuna—Nadi, Kuvera (Dhanada)—Yaksi, Bala (rima)—Hala (plough), Bhogins (serpents)—Sarpa, Ganegvaras (the lords of Ganas)'—Daksayajiia- vimardini, The [ Pin li ] of Siva, the killer of Andhaka®, will be Raudri in the form of his trident. The Pindis of the remaining gods and goddesses will be similarly. named after (lit. marked with) their own banners®

263-264. After inventing the Recakas, Angaharas and Pinlis, Siva communicated them to the sage Tandu? who in his turn made out of them dance together with songs and

256 (B.260, G.255), 1 Priwlibandka—Ag. (I. 170-171) explains the words as follows:—fagtey भक्ञतिविग्ेषससयैकरेशद्विबन्धने पिति ।......पिण्डोबन्ध; acne. ह़ारादिः।......पिश्छौबन्धयषणेम िखिपिष्छोप्रषलुप।यमयूरललितादिकरणसंग्रहः ।,..--भङ्हारा एव पिष्छौबन्धाः तयाऽ्ेपि पिखौवन्ध इतिः केवलकरणसंगरहः. From these quotations it is apparent that Ag. had no definite idea about the pindibandha or 67. But the word occurs in the following couplet of a later work on dramaturgy (Bh P. p.264)

षो$गहादचा्टौ वा aferaia far: पिखोबन्धादिविन्यासः राखकं तद्दाहतम्‌ ॥

From the above quotation the meaning of the word seems ‘to be a term velating to group-dance. For more about pindidandha sec 257-262, 284-285, 291-294 below.

257-262 (B.261-266a, G.256 261). 1 Ganesvari means relating to GaneSvaras or lords of hosts ; see above NS. III. 31,58 and II. 1-8 note 7

? The story of Siva’s killing the Asura Andhaka occurs. in Ram, Hraivaméa and several Puranas. See JK, sub voce ।

४ B. omits 2631) altogether.

263-264 (B.266b-268a, 6.262-268) Tandu’s name does not seem to oceur in any extant Purana. It is just possible that the name of

this # ५ has been derived from ¢andava a non-Aryan word {hich originally may have meant dance.

68 THE NATYASASTRA [ IV. 96४.

instrumental music ; and hence this dance is known as Tandava (ie. of Tandu’s creation).

The sages speak

265. Use of Gestures ete, (abhinaya) having been devised by the experts, for drawing out the sense [of songs and speeches in a play] what led to the making of dance (nrtta), and what is its nature ?

266. Why is dance made in connexion with the Asarita songs? It does neither relate to its meaning nor reflect its spirit.

267. [In answer to these questions] it is*said that the dance is occasioned by 10 specific need; it has come into use simply because it creates beauty.

268. As dance is naturally loved by almost all people, it is eulogised as being auspicious.

269. It is eulogised also as being the source of amusement on occassions of marriage, child-birth, reception of a son-in-law, general festivity and attainment of prosperity.

270. Hence the host of Bhiitas have ever praised? the Pratiksepas? which are used in songs and in regulating the division of dances,

271. Siva (lit god) too was pleased to say to Tandu, “Perform this dance in connexion with the singing of songs.

265 (B 268b-269a, G.264). 1B. reads fasman nritiim for kasman nrilam in 2650.

266 (B.269b-270a, G.265), 267 (B.270b+271a, G.266).

268 (B.271b-272n, 06.267). 269 (B,272b-273a, G.268),

270 (B.273b-274a, G.269). 1 For prakirtitah, BG. read pravartitah.

* pratikgepa— Ag, (I. p.182) defines this term as follows :—wyceafagyt Wate, wt canes we भरततुनिना a afeafeny! भग तु Mae प्रयोशयचछन्दकादय एव afer बथाशचि प्रतिचि्यमान,्कषाः प्रतिपा;

271 (B.274b-275a, ©.270). \ For ८०04 santosapirvakam. his variant has been recorded by Ag. (1.181) and it scems.to be the correct reading. B.G. read tandustandavapirvakam

«lV, 278 J DESCRIPTION OF THE CLASS DANCE 69

272. The Class Dance (tandava)} is mostly to accompany the adoration of gods but its gentler form (sukwmara-prayoya) relates to the Erotic Sentiment.

The Vardhamanaka

273. Now while coming to discuss the “‘Vardhamanaka I shall describe the rules regarding the performance of the Class Dance (tandwva) as it was performed by ‘Tandu.

"974. As in its performance Kala and tempo (Jaya) attain erddhi (increment) due to the increment of Akgaras it is called the Vardhamanaka.

५ The Asarita

275. After setting down the musical instruments (hutapa) the producers [of plays] should get the Asarita performed.

276. Then after the Upohana has been performed to the accompaniment of drums? and stringed instruments, a female dancer should enter [the stage] with the playing of drums [only].

277. This playing of the [instrumental] music should be in pure Karana? and Jati?. And then a Cari should be performed with steps in accompaniment of music.

278. On entering the stage with flowers in her hands the female dancer should be in the Vaisakha Sthana (posture) and per- form all the four Recakas (८.८. those of feet, hand, waist and neck),

272 (B.275b-276a, G.271). ' The fandava has been translated by some as ‘wild dance’ (Haas, Daéaripa, -p.5), but the adjective seems to be misleading. Irom the present chapter of the NS, it appears that the word meant ‘class dance’ which has been codified. It is to be distin- guished from the folk dance mentioned in later works. Zandava was ho exclusively male dance. For the illustrations of the karanas taken out of old das reliefs and printed in the Baroda ed. of the Ns. show that these were performed by women as well. These £aranas were evidently elements of fandava ; (7544 performed by women was only a gentler form

of the éandava, 278 (B.276b-277a, G.272). : 274 (B.277b-278a, G.273), 275 (B.278b-279a, G.274). 276 (B.279b-280a, G.275).

277 (B.280b-261a, G.276). =, 278 (B.281b-282a, G.277).

40 THE NATYASASTRA [ IV. 979-

279, Then she should go round the stage scattering flowers from her hands to gods, and after bowing to them, she should make use of different gestures (abhinaya)

230. Instrumental music should not he played when there is any song to be delineated by gestures, but at the performance of Angaharas drums must be employed.

281. The playing of drums (lit. instrumental music) during the Class Dance should be Sama, Rakta, Vibhakta and distinctly heard (sphita) on account of clear strokes and should be properly following different aspects of the dance

282. After following the song [with her dance] the dancer should make her exit and others [like her} will enter [the stage] in the same manner. .

288. These other women will in due order form Pindis? and till all these are formed they will perform the Paryastaka.

284. After forming [Pindis] these women will make their exit, and during the formation of the Pindis an instrumental music which has various Oghas and Karanas should be played, and it should be similar to the music at the time of the Paryastaka.

285287. Then this Upohana should be again performed as before and the Asarita too; a song also should be sung and a female dancer should enter the stage in the manner described before, and she should delineate [the meaning of the song in the second Asarita by suitable gesture] and translate the subject- matter (rastu)? into a dance

288. After finishing the Asavita the female dancer should make her cxit, and then another female dancer should enter the stage and make ५ similiar performance.

289. Thus at every step the rules of Asarita should be followed by singers as well as players of the instrumental music.

279 (B,282h-283, (278), 280 (B.283b-284a, G.279). 281 (B.284b-285a, C280), 222 (B.285b-286a, G28),

283 (B.286b-287a, G24 2) See above 282 note

284-285 (7. 267-288, Ct.283n-284)

285-287 (B.289-29]a, (2841-2 1,286). 1 |

vast dar ५ Milavi. LL. 5, 8, 13, 14 ov castes (padariasty) sec

288'(B,291b-292a, (1.98).

-IV, 293 J DESCRIPTION OF THE CLASS DANCE 71

290. [During all these performances] the first foot? of the song should be sung once, the second twice, the third thrice, and the fourth four times.”

291. The Pindis have four varieties Pindi [proper] Smkhalika, Latabandha, and Bhedyaka. ?

292. The name Pindi or Pindibandha is due to its being a Pindi (lump), a cluster (कण्णो is called Smkhalika2, and that which is held together [as it were] by a net, is Latabandha®, and Bhedyaka* is to be the (separate) dance of one individual.

293. The Pindibandha is to be applied in the first (lit. shortest Asiriga), Srikhala at the transition of tempo, 116 Latabandha in the middle one and the Bhedyaka in the longest (ie. Asarita).

289 (B.292b-293a, G.288). ' Vast here means padavastu. See above 285-287 note.

2 These asarstas were distinguished .by the Aa/as of time they required. According to Ag. (1.185) the shortest Gs@zrfa takes up seventeen Alas, the medium asartta thirty-three kalas and the longest asarita sixty-live kalas.

290 (B,.293b-294a, G.289). | It is implied that each cach of these groups of songs should be followed by dance of different dancers.

291 (B.294b-295a, G.290). 1 See notes 256 above. In the BhP. (p. 246) oceurs the following passage —

wale तभेदा गु इलिकष।! लताः | भेदयक्खेति चत्वरः कष्यन्तऽव मनीषिभिः ॥ गुचः सूय ये्रततं ESATA । परन्पराङ्गवे्ेन TAN सा लता मता ॥ एककस्य बद्ध; सारं यत्‌ स च मेदाकः। पिश्ौबन्धश्च qara vatarfafa केचन ॥

From this it is quite clear that the prndibandha relates to the grouping of dancers, Of these the gudma is a general collective dance, the srikhali is the dance in which partners hold one another’s hands, the ९ is the dance of two putting their arms around each other, and the bhedyaka is the dance of each one separately.away from the group, The section 292 below does not quite agree with this view.

292 (1B.295b-296a, G.291). + See above 291 note.

? BhP. does not identify the ge/ma and the srikhalska.

3 See above 291 note 1. * See above 291 note 1.

$ See above 291 note 1. ० sanrtta=ekanrtla=ekasya nitta ; cf sakrt (= once), $ #

५

72 THE NATYASASTRA : [ IV, 294.

294. Origin (of Pindis) is twofold: Yantra and Bhadra- 8808. These should be learnt and properly applied by the producers [of plays].

The Chandaka

295. Inthe Vardhamana the producer should thus use {dances} I shall speak again about the roles regarding the performance of songs and Chandakas.

296. I shall now speak of the dance arid the instrumental music that should accompany songs consisting of the Vastu? as well as of their (Angas). During the performance of this song and music a female dancer should enter the stage; at that time all the drums are to be sounded and all the stringed instruments are to be played with Ksepa and Pratiksepa.?

298. First of all, the entire words (vast#) of the song should be represented by gestures, and next the same should be shown by a dance.

299, Directions given above regarding the dance, use of gestures and the instrumental music will apply equally to the subject matter of the songs in the Asarita. -

300. This is the rule with regard to songs consisting of the Vastu. Now listen to description of songs made by Afgas.

301. Rules regarding the dance, use of gestures and the in- strumental music which apply to words (of songs) are equally appli- ९016 in case of Chandakas which are composed of their Angas,

302, During the Mukha and the Upohana the instrumental

music should be played with heavy and light Aksaras by keeping them distinct (lit. separate),

293 (B.296b-297, G.292). ' The distinguishing features of the three asartfas have beon given in note to 289 above, 294 (B,297b-298a, G.293), 11] his passage is not clear. Ag’s explanation (I.p.193) of the yantra and the bhadrasana is not convincing, 295 (B.298b-299a, G.294), 296-297 (B,299b-301a, G.295). ' See above 285-287 note 1, 2 Vor bratiksepa see above 270 note 2, 298 (B.301b-302a, G.297),

299 (B,302b-303 G.298), 0 (B,89ab-304a, (2.299), ६५...

Ww. | DESCRIPTION OF THE CLASS DANCE 73

808. When in course of a song some of its parts are repeated, the parts uttered first should be delineated by gestures and the rest are to be translated into dance.

304-305, When in course of a song some of its parts are repeated it should be followed by the instrumental music which observes the rule of three Panis and three kinds of tempo. On an occasion like this the instrumental music should follow the [proper] tempo.

305-808,. The Tattva, the Anugata and the Ogha relate to the Karana. Among these, the Tattva is to be applied in slow tempo, the Anugata in medium tempo and the Ogha in quick tempo. This is the rule regarding the instrumental music. [Different] parts of the song in case of a Chandaka are to be repeated. This is always the rule in [combining] the dance, Gestures and the song. In case of songs composed in one stanza (nibaddha) commencement (graha of the playing of drums) should take place at their end, but in the repetition of the parts [of a large song] such commencement should take place from the beginning.

The Gentle Dance 809. This should be the procedure in performing the Asarita songs. Now consider [all] that relating to the adoration of gods as the Gentle Dance (sukmara). 310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when they are in love.

५ Occasions suited to dance 811. Now listen, O Brahmins, about occasions in plays when dance should be introduced in course of songs. 312. Experts should apply dance when the principal words of a song [in a play] as well as its [ornamental adjunct known as]

~

301 (B.304b-305a, G.300). 302 (B.305b-306a, G.801).

803 (B.806b-307a, G.302). 304-303 (B.397b-808a, G,303-804a). 805-308 (B.308b-311, G.304b-307). 309 (B 312, 6.308).

310 (B.318, G,309), + 811 (B,314, G.810),

14 THE NATYASASTRA [ IV. 313

Varna? comes to a close or when any character attains good fortune [in a play]

318, And dance should take place on an occasion in a play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy.

314. Dance should also take place in any scene of a play when the lover is near and a [suitable] season or the like is visible.

Occasions when dances are prohibited

315. But dance should not be applied to the part of a young woman who is enraged (khangita),! deceived (vipralabdha)? or separated [from her lover] by a quarrel (kalahantarita)®.

316. Dance should not be applied also at a time when a dialogue is going‘ on or when the beloved one is not near at hand, or has gone abroad.

317. And besides this when one realises the appearance of one of the seasons or the like from the words of a Messenger, and feels eagerness or anxiety on account of this, no dance should be applied.

318. But if during the performance of any part of the play the heroine is gradually pacified, dance is to be applied till its end.

319. If any part of a play relates to the adoration of any deity one should perform there a dance with energetic Angaharas which Siva created.

320. And any love-song mentioning relations between men and women should be followed by a dance with delicate Angabaras which Parvati (lit. the goddess) created.

Playing of drums 21. Ishall now speak of the rules about the playing of

312 (B.315, G.311). । See NS. (C.) XXIX. 19-82.

313 (B.816, G.312) 314 (B.317, ©.813). 315 (B.318, G.314). 1 see NS, XXIV. 216, . ० ghed, 217, > 1072. 215, 316 (B.819, G.315), +317 (B.320, G.316). $18 (B.821, G.317).

819 (B.822 ,G.318), 890 (B.398, G.819).

-IV. 828 | DESCRIPTION OF THE CLASS DANCE 95

drums which should follow four-footed Narkutaka,! Khafijaka* and Parigitaka.

322. Playing of drums should begf n with the Sannipata Graha at a time when a foot of the Dhruva of the Khaija or the Narkuta class has been sung.

828. In course of a Dhruva which consists of even number of feet with equal number of syllables the drum should be playtd with the Graha by the fore finger after its first foot has been sung.

824. [After performing the Dhruva song with the playing of drums as directed above] this song should be repeated with proper gestures [to delineate it], and it should be again sung, and at the end of its last foot drum should be played.

When drums are not to be played

825. Drums should not be played at a time when the song or its Varnas have been finished or it is beginning afresh.

326. During the Antara-marga which may be made by Trantris or Karanas, the Class Dance should be followed by drums as well as the सिलं Cari.

8z7. One who will perform well this dance created by Maheévara (Siva) will go [at his death] free from all sins to the abode of this deity.

328. These are the rules regarding the Class Danee arising out of its application. Tell me what more I am to speak now about the rules of the Natyaveda.

Here ends Chapter IV of Bharata’s Natyagastra which treats of the Characteristics of the Class Dance.

821 (B.324, G.320). ' See NN. (U.) XXXI. 511 . XXXIL 304 ff. १ See NS. (C.) XXXI. 511 ; XXXIL 484. 322 (B.325, G.321). 828 (B,326, G.822). 324 (B.327, 0.899). |

895 (B.328, G.324). 296 (B,329, 6.8४5).

827 (B,330, G.326). 398 (B,381, G.827).

CHAPTER FIVE

THE PRERIMINARIES OF A PLAY

The Sages question.

1-4. On hearing the words of Bharata who continued the topic of drama the sages were pleased in mind and said, “We have heard from you about the origin of drama* and the Jarjara? as well as [the means of] stopping obstacles*, and the worship of gods*. Having grasped the meaning we would: like to know in detail (lit. exhaustively), 0 the very splendid one, about the Preliminaries with all their characteristics ; it behoves you, O Brahmin, to explain [everything] for our understanding [the same properly ].”

Bharata answers.

5-6. Hearing these words of the sages Bharata spoke thus about the rules of the Preliminaries : “O the,blessed ones, listen to me. I am speaking about the Preliminaries as well as of the Pada- bhagat, the Kalas and the Walking-round® [which relate to them].

Preliminaries defined

2. As it is first performed at the beginning (parvam) in the stage (ranga) it is called the (parvaranga)} Preliminaries.

Parts of the Preliminaries 8-11. Its different parts which are to be performed in due

-4(B.G. same), * See NB. I. 13-18 ° See NS, 1. 69-78

* See I. 54-68. * Seo NG. III.

5-6 (B.G. same). | padabhaga—See NS, (C.) XXXI. 308-309. ‘This {s a tetm relating to 42.

° kali—unit of the time measure in musie. See NS. (C.) XXXI. 608. On this Ag. (I. 211) says: कला अब्देन च विया तानक्षला निकामादिङयति । तथा east मानाप्मकलालमागों रेतः. = > parivarta, On this sce below 23-24, 65-80

7 (8.0, same). BhP. defines purvraigd as follows : कलापाता; पादभागाः ufone पूरिमिः। gi त्रियते axe geet मवेदतः (SR. p. 742) The definition in the the comm. of DR. (TIT. 2) is corrupt. 8-11 (8.0, same).

v.16 ,. ‘THE PRELIMINARIES.OF A PLAY 7

order with the playing of drums and stringed instruments 28 well as with” Recitatives (pathya), are as follows: Pratyahara?, Avatarana?, Arambha®, Aé¢ravana*, Vaktrapani®, Parighattana®, Samghotana’, Margasarita®, and Asarita® of the long, the medium and the short types. These songs outside [the performace of a play] are to be sung by persons behind the curtain?® to the accompaniment of drums and stringed instruments.

+ 12-15. Then after removing the curtain’, dances and recitals? are to be performed with the playing of all musical instruments, and some song of the Madraka® class is to be sung, or one of the Vardhamanaka* class along with the Class Dance [suitable to it] should be applied, ‘Then should take place {one after another] during the Preliminaries the following :— Utthapana®, Walking round®, Benediction’, Suskapakrsta*, Ranga- dvara®, Cari?°, Mahacari?+, Three Men’s Talk}? and Laudation?$.

16. I shall now explain in due order the characteristics of all these which are to be included in the ceremony of the Preliminaries.

+ See below 17. ५ See below 18 3 See below 18.

* See below 18. 5 See below 19. ५ See below 19. 7 See below 20. 8 See below 20. ® See below 21.

10 Hrom this statement it appears that the first nine items of the preli- minaries were performed on the stage covered with a front curtain much like the modern drop curtain. There were besides this, two curtains on two doors of the tiring room. It seems that the front curtain came into regular use in later times and especially at the end of each act. Cf. savaree- Aantar used as a synonym of ‘act’ in the KM.

12-15 (B.G. same). ' The front curtain ; see 8-11 note 10 above.

> Recitals of the Benediction (vandi) and the Laudation (prarocani) ete, =, 9 madraka—a class of songs.

4 verdhaminaka—a clase of songs with dance. See NS. (C.) XXXIX. a24tf. 5 Seo below 22-23. = ° See below 28-24, 65-89. 7 See below 24-25, 107-113 5 See below 25-26, 113-116, 9 See below 26-27.

1० See below 27-28, 119-120. =. ‘1 See below 27-28, 127-130.

** 86९ below 28-29, 187-141. 18 See below 29-30, 141-142,

16 (8.७. same). = । It may ,appear that these items of the *Prelimi-

98 THE NATYASASTRA [ ४.17.

The Pratyahara 17, Arranging of the musical instruments (kuapa) is called the Pratyahara?. The Avatarana The seating of singers is called the Avatarana (lit. coming down)?, The Arambha 18. The commencement of vocal exercise for singing (parigita) is called the Arambha (lit. beginning)?. The Agravana Adjusting the musical instruments for playing them in due manner is called the Aéravana. t The Vaktrapani 19. Rehearsing (lit. dividing) the different styles (१1) of playing musical instruments is called the Vaktrapani’. The Parighattana The strings of instruments are adjusted duly during the Parighattana?,

neries to be performed behind the front curtain, have been made needlessly elaborate. But it is not ‘so. In ancient times people due to different conditions of their lives, were not so much punctual in coming to the theatrical show, They did not come to it all at onee and at any fixed time. Quite along time passed before they all assembled. Hence from behind the curtain the Director offered to the early-comers (naturally the people who had no haste in their lives) whatever they could, while preparing for the actual performance. Hence Ag. (1, ४, 215) says that nine items of the Preliminaries were meant for a [common] women, children and fools. The same practice about the Preliminaries may be observed even now in ease of the Yatras or the open air theatrical per- formanees in Bengal. 17 (1.6, same).

* For the arragement of the musical instruments see the diagram 2.

४ Vor the position of singers sce diagram 2.

18 (B.G. same). 1 aravani—For details about the performance of his ace NS. (U.) XNLEX, 120 ff.

19 (BG. same). ' vaktrapini—Vor details about the performance ‘or this see NS. (C,) XXIX. 131 ff

# partghattani—Vor the performance of thix gee NS. (C.) XXIX: 42-145. `

-V. 94] THE PRELIMINARIES OF A PLAY 79

The Samghotana ` 20. The Samghotanat is meant for rehearsing the use of different hand poses [for indicating the time-beat]. The Margasarita The playing together [in harmony with one another] of drums and stringed instruments is called the Margasarita?. The Asirita 21. The Asarita is meant for practising the -beat of time-fractions (kalapata)?. The Application of songs And the Application of songs (yitavidhi)? is for singing the glory of gods. The Utthapana 22-23. [ shall now speak about the Utthapana (lit. raising) ceremony which is so styled because from this, the reciters of the Benediction start (lit. raise) first of all in the stage the performance [of the play}. Hence the Utthapana is considered by some to he the beginning [of the performance]. The Walking-round 93-24. The Walking-round (parirurtana) is so styled hecause in it, the guardian deities of different worlds are praised (by the Directer] walking all over [the stage]. The Bencdiction 94-25. The Benediction (कदा) is so called because it must always include [and invoke ) the blessing of gods, Brahmins and kings.

20 (B.G. same), | simghotani—For the performance of this see NS. (C.) XXIX, 137-141. |

» margasarita—For the performance of this see NS. (C.) XXIX. 145-116. :

21 (8.6. same). asartta—For the performance of this see Ne, (6.). XXXI. 59-75, 169-194. 2 See NS. (C.). XXX. 267 ff.

22-23 (B.22-23a, ©. 21¢-22).

28-24 (B.23b-24a, 6.23). | partvartana=parivarta sec below 65 ff.

24-25 (B24b-25a, ७.24), 1 For its speeimens see below 107 ff,

80 THE NATYASASTRA [V. 25-

The Suskavakysta Dhruva 25-26. When an Avakrsta Dhruva is composed with meaningless sounds it is called Suskavakrsta?, It indicates verses for the Jarjara?.

The Rangadvira 26-27, The Rangadvara is so called, because from this part commences the performance which includes Words and Gestures.

The Cari and the Mahacari 27-28. The Cari is so called because it consists of move- ments depicting the Erotic Sentiment and in the Mahacari occur movements delineating the Furious Sentiment.

The Three Men’s Talk 28-29. The conversation of the Director (sitradhara), an Assistant (pariparsraka) acd the Jester? is called the Three Men’s Talk (trigata). The Landation 29-30. The address which the Director (lit. the expert) makes suggesting the Denoument of the action (kaya) of the play

in hand with [proper] reasoning and arguments is called the Laudation (prarocana),

The origin of the Bahirgita and its justification

30-31. I shall now describe in detail the Asravana which is included in the Bahirgita and shall speak of its origin as well as its justification.

25-26 (B.26, G.25), 1 ene below 13.115.

> The meaning is not clegr. B.G. read between 25b and 26a two prose lines,

26-27 (B.27, G.26). 27-28 (B.28 G.27),

28-29 (899, 008). ' The Jester’s role is assumed by one of the Assistants, See helow 70 where two Assistants enter along with the Director. For details of the Three Men’s Talk gen below 137-141,

29-30 (B20, 6.29). ' For details about the Laudation see below 141-142;

-V. 37] THE PRELIMINARIES OF A PLAY 81

31-32, Now when songs in seven forms? and in Citra? and Daksina® Margas together with the Upohana* and the Nirgita® were started by musical experts like Narada in praise of gods, all the gods and the Danavas, in the assembly were made to hear the Nirgita® performed with proper tempo and time beat’.

Daityas and Raksasas provoked ४) jealousy

- 83-34. Now on hearing these happy songs praising the gods, the Daityas and the Raksasas were all provoked to jealousy. .

34-36. Under these circumstances they pondered [over the matter] and sald to one another: “We are glad to hear (lit. accept) this Nirgita in accompaniment of the instrumental music, (and not the songs) in seven forms? about the exploits of the gods, which they were pleased to hear; we shall hear the Nirgita only and shall always be pleased with it. Then these Daityas {and Raksasas] pleased with the Nirgita urged for its repeated performance”.

The gods approach Narada to stop the Nirgita.

|| 37-38. This enraged tlie gods who said to Narada, “These Danavas and Raksasas are pleased with the Nirgita only [and do not want anything else i.c. songs]. Hence we wish this perfor- mance (of the Nirgita) to come to an end. What do you think of this 2”

30-31 (8.81, G.30). 81-82 (B.32-33, G.31-32). 1 Seven forms means the types of falas, See कई, (C.) XXXI. 497 ff. 9 See (C.) XXXI. 414.

3 See (C.) XXXI. 412. ५ See (C.) XXNIL 234 ff, 5 Another name for dahirgita. See below 33-42. 6 #irgita—instrumental music

‘For different aspects of the tala sec NS. (C.) XXVIII 15-16 and त.) XXXI. -84 (2.34, G.33) 84-86 (B.35-87a, G.34-36a). > The seven forms—On this Ag. ( 1. 0. 224) says : धातवरकनोविगषा ह लिविशिषसेयोगजा twee: रचनया अहृ्विगेषस्य maw चदुटय Tage freee fenced merged सपमिदलचण, , i

89 THE NATYASASTRA LV. 88. Narada pacifies the gods.

38-41. Hearing these words of the gods Narada replied, “Let the Nirgita dependent on the music of stringed instruments be not stopped, and this (nirgita) combined with the Upohana and accompanied by the music of stringed instruments will have seven forms. Enraptured (lit. bound down) by this Nirgita the Daityas and the Raksasas will not be provoked and they will not create any obstruction {of the performance],

41-42, This is the called Nirgita to satisfy the vanity of the Daityas while in honour of the gods it is called the Bahirgita.

42-44, This is to be played by experts in the Citravina? with metallic strings, and the performance should contain light and heavy syllables (atsara)? and have Varnas* and Alamkaras‘. It is called the Nirgita because in it there is sung a combination of sounds carrying no sense, and to satisfy the jealousy of the gods it is called the Bahirgita”.

The gods are pleased with the Nirgita (Bahirgita).

44-45, , The reason behind the Nirgita in its seven forms as well as the Utthapana and the like, will now be given.

45-54, The Pratyahara pleases the Raksasas (Yatudhana) and the Pannagas, whilethe Apsarasas are delighted with the Avatarana. The Gandharvas are pleased when the Arambha is performed, and in the performance of the Aéravana the Daityas take delight. The Vaktrapani pleases the Danavas and in the Parighattana the hosts of Raksasas are [again] pleased. By the Samghotana Guhyakas are satisfied, while the Margasarita the pleases Yaksas. When

----- -------- ------------ - ------~-----~---- ~ ~~ ~~~ ~~~ ~~ ~~~

37-88 (B.37b-38, G-.36b-37). 38-41 (B.39-41, G.38-40).

41-42 (B.42, 6.41).

42-44 (B.43-44,,.6.42-48). | citravina—nityoparaiijanartha ya vind; akind of vina suitable for being played during the performance of a drama. ° Syllables like ghr¢ and dri are heavy, and syllables like mi, ta, ka, La are light * See NS. (C.) XXIX. 19-28,

५ See N&. (C.) XXIX, 24-75, 44-45 (B.45, G.44),

45-54 (B.54b-55, 46-53, (1.45-58),.

-४. 59) THE PRELIMINARIES OF A PLAY 88

songs (gitaka) are sung the gods enjoy them, and Rudra with his followers is pleased by the performance of the Vardhamana. Similarly in the performance of the Walking-round (parivar- tana) Lokapalas (the guardians of the worlds) are delighted, and the Moon-god is pleased with the Benediction. During the singing of the Avakrsta (Dhruva) Nagas are pleased, while Suskavakrsta (Dhruva) pleases the host of Pitrs (ancestors), In the Rafgadvara Visnu is pleased, while the Jarjara, ceremony pleases the leaders of Vighnas. On the Cart being. performed Uma takes pleasure while on the performance of Mahacari the Bhiitas are delighted.

55. So much about worshipping the deities in different parts of the Preliminaries (parvaranga) beginning with the Pratyahara and ending in the [Maha] cari.

56. O the best of Brahmins, in course of describing the different parts of the Preliminaries I have named the gods pleased by them and mentioned [the individual] parts of it in which they . take delight.

57-58. ‘The performance of the Preliminaries which means worshipping the gods, is praised by them (ie. gods) and is con- ducive to duty (dharma), fame and long life. And this perfor- mance whether with or without songs, is meant for pleasing the Daityas and the Danavas as weli as the gods (lit. denizens of the celestial region).

59, I shall now tell you [afterwards] while discussing the rules of Dhruvas? the characteristics and function of performances with or without songs (sagile and nirgite) as well as of the Vardhamana.? ।

cae ences nena eaters Ae ~~

55 (B.56, 6.54). 86 (९.5), 6.55).

57-58 (B,58-59, G.56-57),

59 (8.61, 6.59). ' See NS. (C.) XXXII. ;

१ Before this couplet (59) 3B. reads one additional soke (B. 60),

| THE NATYASASTRS LO.

The songs in the pure Preliminaries

60-63. After performing the songs (gitaka)? and the Vardha- mana, one should sing the Utthapani (Raising) Dhruva® which has in jts feet of eleven syllables the first two, the fourth, the eighth and the eleventh as long. It should be [sung in] the Caturasra (Tala)* and [should consist of] four feet and four Sannipatas® as well as three kinds of tempo (laye)® and three ceesura” (yati). Besides this it should consist of four Walking-rounds (parivarta) and of three Panis®, and it should be in the Visloka? metre and in the same kind of Tala,

64. The Tala in question should consist cunsecutively of Samya? of two Kalas, Tala of two Kalas, Samya of one Kala and

Sannipata of three Kalas. + The First Walking-round

65. Thus a Sannipata Tala of eight Kalas should be observed by the experts. And it is said that a Walking-round is made up of four such Sannipatas.

66. The first Walking-round in the Preliminaries should be made in slow tempo (sthitalaya) and on the termination of the third Sannipata in it (ie. the first parivarta) drums should be played.

The second Walking-round

67. On the termination of the first Walking-round the secon’ one (i.e. Walking-round) having commenced in medium

60-63 (B.62-65, 6.60-63). 1 See NS. (C.) XXXI. 267 ff. * See NS.(C.) XXXI. 295 ff. : + The term ulthapani dhruva does not oceur in the Dhruvadhyaye No. (C.) XXXII. ५ See NS, (C.) XXXI. 9-11. ५ See NS. (C-) XXXI. 38-39. * See NS. (C.) XXX. ५, 1 8९९ NS, (C.) XXXI. 532-537. 5 Ag. explains three panss 88 samapans, avara-pini and 10000001. * See NS. (0) XXXIL 149. 64 (९.86. 0.64). ' Cf NG. (6, XXXL, 74.

85 (8.6), G 63), 66 (B 68, G.68), 67 (B.69, G.67).

(7), 20 PRELIMINARIES OF A PLAY 1.1

` tempo (Jaya) the Director [and the two Assistants]? should enter [the stage]. :

68-69. The three should simultancously enter [the stage] with handfuls of flower-offering., But before that they should get themselves purified, initiated and furnished with charms for protection [against evil spirits]. They should be clad in white, and flowers carried by them should [also] be white, and they should be dooking with the Adbhuta glance ? and be in the Vaisnava Sthana? with Sausthava of the body.

70, The two? Assistants (pa@riparsvila) should carry a golden pitcher (bhengara) and the Jarjara, and with them by his side the Director should put forward five ateps.

71. These five steps [will be] for the purpose of worshipping Brahman, and the manner of putting them forward will be described [below] in detail.

72. They should slowly place their two feet three Talas? apart and then raise (them one by one] on each side and again put them down at the same [distance].

78. After going five steps? in the manner described above the Director and his two Assistants (lit. others) should perform the Siici Cari with left foot moved first and the right foot afterwards.

74. Then the Director should offer flowers in Brahman’s circle (Brahma-mandala) which is another name for the centre of to stage where the deity is supposed to be present.

1 Entranee of the two Assistants is implied in this passage, See below 68-69.

68-69 (B.70-71, 6.68-69). ` See NS. शा. 48. ° Sec NS. XI. 50-52.

70 (B.72, 6.70). 1 One of the Assistants is to assume the role of the Jester in the Three Men’s Talk. Sce above 2829, 187-141.

* Jarjara— see NB, II, 73 ff.

21 (B.73a, 6.71). 1 B. omits 71b.

72 (B.74, 0.72). ` ¢ala—a unit of length. The distance from the tip of the middle finger to the wrist. Sec NS, IIL, 21 note. ।

78 (8.75, 6.78). ¬ B, otsnestepudi for paicapadi. 74 (2.76, 0.74).

86 THE NATYASASTRA [ ४. 75-

75-77. And afterwards he (६.९. "106 Director) should res- _ pectfully bow to Brahman (lit: Pitamaha) with Lalita gesture,* and to measure the length of time during the salutation he should thrice touch the ground with his hand, and his steps should be [suitably] divided. The second Walking-round which beging with the entrance of the Director and ends? with the salutation [to Brahman] and use of gestures [related to it], should be performed in medium tempo (Jaya)

. The third Walking-round

77-78, Next during the third Walking-round (parivarta) the Director should go round the Brahman’s circle {i.e. the centre of the stage), perform Acamana and take up the Jarjara. [The manner of taking it up is as follows :]

78-80. Rising up quickly from [Brahman’s] circle (mandala) he should perform the Stet (lit. Vedha) Cari with this foot (i.¢. the right foot) put forward first and the left foot after- wards. And then he should again raise his right foot which was on the side and perform the Siict (Vedha)! Cari putting forward the left foot first and the right foot afterwards.

80-83, Going tound [the centre of the stage] the Director should call the person (ie. one of the Assistants) who carries the golden pitcher (bhengara)? and perform ablution (cuca) [with water from this vessel]. He should then perform Acamana and sprinkle himself with water in due order. Thus after performing properly the ablution the Director should carefully take up the Jarjara, the destroyer of obstacles, and this act should be per- formed along with the beginning of the last Qannipata [of this second Walking-round].

83-84. The third Walking-round beginning with going

75-77 (B:77-79a, ७.740-76). ' See NS. IX. 201, ए reads vandanabhi- nayinugah for *nayantakah.

77-78 (B.79, 6.71). ` ` 78-80 (B.80-81, 68.78.79). According te ^¢. (I. p. 233) Vedha= ल Cari.

80-83 (B.82-84, G.80-82). 1 Seo above 70,

83-64 (B.85, 6.88). :

"प. 89 ] ` ` THE PRELIMINARIES OF A PLAY 87

round the centre of the stage (i.e. Brahmamandala)' and ending with the taking.up of the Jarjara should be performed in a quick tempo. `

The fourth Walking-round

84-87. After taking up the Jarjara to ward off evils he should mutter [some Mantras] in eight Kalas. .Fhen he should perform the Siici (Vedha) Cari by putting forward the left foot first and the right foot afterwards, and then, move five steps to- wards the musieal instruments. And then again he should observe the Siici (Vedha) Cari by putting forward the left foot first and the right foot* afterwards. The fourth Walking-round which begins with the taking up of the Jarjara and ends? with an approach to the musical instruments should be made in a quick tempo.

87-88, In this |purvaranga which is of the Caturasra type] movements of hand and feet in it will occupy sixteen Kalas while it being of the Tryasra type such movements will occupy Twelve Kalas only.

88-89. [The Director and the two Assistants] should make three salutations by touching the ground, with the hand and hefore this they are to sprinkle themselves with water, but in case of the Tryasra [Preliminaries such sprinkling] has not been prescribed?.

The Parivartani Dhruva

89-90. In this manner they should perform the Utthapana (lit. raising), Thenscomes the Parivartant (Walking-round) Dhruva

" Soe NS. IIT, 23-30note.

84-87 (B.86-88, G.84-86). | B. reads Autago nigamantekah,

87-88 (B.89, G.87).

88-89 (B.90, 0.88). |! This and the preceding (87-88) passage should

properly go after NS. 64 for theyrelate to the Utthapana which should come before the Walking-round ; sec before 22-23.

89-90 (B.91, G,89). | For caturasre, B, त, caturasram,

88 THE NATYASASTRA [ ४. 90.

which should be performed in the Caturasra (Tala) and medium tempo and with eight Sannipatas. é

90-91. The Dhruva (song) which has only the last syllable long in its four feet of eleven syllables, is called the Parivartani (Walking-round) Dhruva.

$1-92. During the singing of this Dhruva the Director should move leffwards! in the Vartika Marga with graceful step in accompaniment of instrumental music and should bow to (different] deities in directions belonging to them.

92-93. And during the foot movement [mentioned above] euch step of the Director should consist two Kalas ,.and movement in each direction should consist of two Sannipatas.

93-04. Then he would observe the Siici (Vedha) Cari putting forward the left foot first and the right foot afterwards and putting the latter at a distance of two Talas.

ॐ 94-95. In this manner he should go five steps with the Atikrinta Cart! and bow to different deities in directions belonging to them.

95-97. First of all he should bow to the eastern direction presided over by (Sakra) Indra, secondly he should bow to the southern direction belonging to Yama, Thirdly he should bow to the western direction ruled by Varuna. Fourthly he should bow to the northern direction of which Dhanada (Kuvera) is the protector.

97-98. After bowing to these directions he should perform the Stici Cari putting forward the left foot first and the right foot afterwards and begin the Walking-round: +

95-99 Then with his face tgwards the east the Director

90-91 (B.92, 6.90). 91-92 (2.99, 6.91). 1 vamakena (vartikena, B).

92-93 (B,94a, 0.92). | B, omits 98a,

93-94 (B.94b-95a, 6.93)

94-98 (B.95he, 6.94). ! See N&. XT. 29

95-97 (B.96-97, (.95-96), 97-98 (B.98, 6.97), 98-99 (B.99, G.98), ^

-¥. 106 ] THE PRELIMINARTES OF -A PLAY 89

should bow to Siva (Rudra), Brahman-end Visnu (Upentira) while going forward three steps by ‘masculine’, ‘feminine’ and ‘neuter’ feet [one after another].

99-100. The right foot is ‘masculine’ and the left foot is ‘feminine’ while the right foot not [much] raised is e.lled ‘neuter’,

100-101. Siva (Iga) should be bowed to with the masculine foot (put forward first] while in bowing to Bralimair the neuter foot (should be so put forward ]?.

The Fourth Man enters.

101-102, The Walking-round should be [finished] thus, and then the Fourtlf Man (vaturtha-ka@ra) should duly enter [the stage] with flowers [in his hands],

102-103. And he should duly offer रुह to the Jarjara and to all the musical instruments (/wtapa) as well as to the Direetor.

103-104. His foot-movements during the Piji should ‘be made to accompany the playing of drums, and there-should be no song sung then, but only meaningless syllables should be chanted (stobhakriya).

Singing of the Avakrsti Dhruva

104-105. After offering the Puja the Fourth Man should make hiis exit. And then should be sung an Avakrst?: Dhruva? in Caturasra (Tala) and slow tempo (-thitu-laya),

105-106. This Dhruva should abound in heavy syllables and depend on the Sthayi-varna? and be made up of eight Kalas, and its Tala should be Avapinika.

99-100 (B.100, G.99). ` +.

100-101 (B,101a-102b, G.100). ' B. repeats here 90-91. 101-102 (B 103, G.101).

109-103 (B.104, G.102). › See NS, III, 11-13.

103-104 (B.105, G.103).

104-105 (B.106, G.104). * Que of the six kinds of Darvas. See NS, (©) XXXII. 154-159).

105-106 (B,107, 6.105). ' See NS, (G.) रसा. 21. 12

90 THE NATYASASTRA ` LV. 106-

. ` 106-107. The Avakrsti Dhruva is a song consisting of four feet of ten syllables of which the fourth, the fifth, the seventh and the eighth will be short.?

The Benediction

107-108. Then the Director will recite in a medium (madhyama) tone the Benediction which should consist of eight or twelve feet (1210).

108-109. ‘These are the specimens of Benediction) :

namo’stu sarvadevebhyo dvijatibhyah subham tatha |

jitam somena vai rajiia <2 drogyam bhoga eva ca ॥

Tr. Salutation to all the gods. Blessed be the twice born class, May Soma the king attain victory as well as healthy life ‘and [earthly] enjoyment.

109-110. brahmottaram tathaivastu

hata brahmadvisas tatha! pragistvimim maharajah prthivim ca sasigarim ॥

Tr. Let there be an advancement of the cause of the Brahmins, and let their enemies be killed, and let the great king rule this carth together with all the seas,

110-111. rastram pravardhatdm caiva

rangas ciyam samrdhyatim | preksakartur mahén dharmo bhavatu brahmabhavitah Tr. Let this state prosper, and this theatre flourish and let

Cee na ns UU ~

106-107 (72.108). `" ©. omits this.

107-108 (B 109, G.106). + For different interpretations of pada sce Lévi, pp. 182-133, IT. 25-26. Raghavabhatta quotes from Ag. in his dakun- talatika (p. 6) the following : पदानि aiaramaqaiia तिङ लानि genta or qagvat- शानि or भरवान्तरकपानि at and wed खामद्वदानरदाङ.षवं 4 पदलम्‌. 1116080 passages do not occur in the published Abhinavabhirati. .

. 108-109 (B.110; G.107), + See Lévi, p. 133, 109-110 (B.111, G.108), 110-111 (B.112, G.109),

-V, 118] THE PRELIMINARIES OF A PLAY 91

the producer of the theatrical show attain virtues proceeding from the Vedic knowledge. 111-112, kavyakartur yagas (ऽप dharmaé capi pravardhatim | ijyaya cnaya nityam priyantém devatii iti ¥ Tv, Let the playwright (lit. writer of the karya) attain fame and let his virtue increase, and by this kind of sacrifice (yajiw), let the gods be always pleased with him. 112-113. After the recitation of each of such Benedictory poems the two Assistants should loudly and distinctly say, “Let this be so.”

The Suskivakrsta. Dhruva 113-114. The Benediction should thus be performed duly according to the rules [mentioned above]. Then should be sung the Suskavakrsta Dhruvd and verses praising the Jarjara. 114-115. This Dhruva should consist of nine long syllables first and then six short syllables followed by three long syllables, ¢.g. 115-116. digle digle jhande jhande jam bu ka va li ta ka te te ja. The Rahgadvara 116-118. After properly performing the Suskavakrsta : Dhruva, he (the Director) should recite in a loud tone one Sloka in adoration of the deity in course -of whose worship [the dramatic performance is going to be held}, and_ then [another Sloka] paying homage either to the king ar to the Brahmins should be surg. - 118-119. After reciting the Jarjara. Sloka in what is called

the Rahgadvara (lit. entry into the performance) he should again read another Sloka to honour the Jarjara?

111-112 (B.113, © 110). . 112-113 7.11, G.111a). - 113-114 (B.115, G.112). 114-115 (B.116, G.113). 115-116 (B,11?a, G.114). 116-117 (B 117b-118a, G.115). 117-118 (B.118b-119a, G 116). 118-119 (B.119b-190a, G.117). ' 1 Mas. reading is farjarasya vinatana

92 THE NATYASASTRA [ V. 119 The Cari

119-120. And after the Jarjara has been honoured;t he should perform ४ Cari and the two Assistants ,should step backwards. छ 120-121. Then the Addita Dhruva? should be performed with the medium tempo (aya); Caturasra ‘Tala and four Sannipatas

121-122. The Dhruva (song) which has the first, the fifth andithe last’ syllables long and the renhaining syllables short in all its four feet of twelve syllables, is called the Addita. ,

„ 122-123, 1 shall relate its application according to the procedure adopted by Siva (Mahegvar 1). and Uma when performing it in the past with [the display of] different States (bhara). and movements.

128-125, - After assuming the Avahittha Sthana (posture),* and placing the left hand [first] with its palm downwards on the navel and taking up the Jarjara, by his other hand,? the Director should go five steps, with his left hand showing the Pallava gesture ; and while going he should cover one Tala at each step and move his limbs gracefully भ.

125-127. Afterwards he should perform the सत्त Cari by putting forward his left foot first and the right foot afterwards, ‘Then the Director (lit. the expert’ ome) should recite a Sloka with leve.as its-subject-matter, And after reciting this Cart Sloka and

(ainamana). But this gives uo relevant meaning, We emend it. to- Jarjarasyé uiminanam, ६

119-12) (8.120.121, 6.11. | 80०4 medinaysted (BG. mamagsioii)

* 120-12] 0.1210.128>, G.119), 1 See below 12,122, also. NB. (©.

XXXIL 10, 357

121-122 (0.12२.23४, G.120), 1924128. (Bul 2ab-125a, 4.121),

123-125 (B.124b, 125b, 126, G-122-193), ' Defined in. NX. ता. lade 165. * Mss, read dududhytam. But its meaning is not clear. It is just possible that the original reading has been changed. We thorefore emend this to द्ववदु mvaning ‘held in palm’ or ‘held by. hand,’

१९. reads hetween 128b. and 124a an.additional homistioh

128127 (B,127+126,.G,124-125),

-¥;, 134 | THE PRELIMINARIES OF A PLAY 98

performing the Walking-round, he should with his face towards the front withdraw backwards with steps described before

The Mahaeari

127-128. ‘And after placing the Jarjara in the hands of one of the Assistants He should perform the Mahdcari in accordance with the rules laid down below. = ^

° 128-130. During this Cari the Dhruva song should be of the Caturasra type and in quick ‘tempo, and it should have four Sannipitas and eight Kalas. ‘This Dhruva song should have feet of eleven syllables of which the first, fourth, seventh, tenth nd.the last are’ long and the remaining ones Short. `

130-131. (An example of the Caturasra Dhruva) :

padatalahati-patita-éailam ksobhita-bhiita-samagra-samudrath | téndava-nrttam idam pralayante patu harasya sada sukhadayit = |

T'r, Let the ever-pleasing Class Dance of Hara (Siva) after the destruction of the world, which smashed the hills by the impact of his feet and agitated the ocean with all creatures living in it, always give you protection.

30-131. Then he should step towards the drums (१121004) and afterwards perform the Sici Cari followed by a change of the Viksepa.

132-133. Afterwatds he should move his feet gracefully. with a quick tempo, and keeping them three Talas apart, he should" go five steps. There again he should perform the इत्लं (Vedha) Cati with his left foot put forward first and the right one afterwards. °

134-135. And with the foot movement [described above] he should move backwards with his face towards the front, and again he should go three steps forward in a similar manner, and then he

127-128 (B,129, G.126). 128-180 (B.130-131, G.127-128) 180-131 (B.132, G.129). 131-182 (B.133, 6.180), 132-133 (B.134-185a, 6.131-1829): 13413; (B.185b-136, G.138b+1 33)

94 THE NATYASASTRA ` ( V. 136

should again perform the Siici Cart with his left foot- put forward first and the right foot afterwards.

136-137. Then he should recite a couplet calling up the Furious Sentiment while bringing his feet together; and then after

“going three steps he should call for the two Assistants, and on their coming up, a Narkutaka Dhruva should be sung. Atthe time of singing this Dhruva he should perform the सित (Vedha) Cari by putting forward the left foot first and the right foot afterwards.

The Three Men’s Talk

137-138. Then in case of a play in the Verbal Style (hha, rat vrtti) the Three Men’s Talk (त्त) should take place. During it (this Talk) the Jester should suddenly come in and deliver a discourse consisting mostly of irrelevant words to excite the smile of the Director,

138-189, In this discourse should be brought in some controversial topic with an abrupt remark or an enigmatical utter- ance [of some kind], and questions such as who is [there] and who has won, leading to the plot pf the play (lit the poem), but no unpleasant topie should be brought in.

140-141. In the Three Men’s Talk an Assistant talks with the Jester who finds fault with his words which are, [however,] supported by the Director.

The Laudation

141. Then the Director (lit. an expert) should put in the Laudation and the Invitation [to members of the audience], and for the success of the performance (lit. the stage) the subject of the play should again he mentioned.

142. After putting into practice all these rules, all the three persons (i.e. the Director and the two Aasistants) should perform

136+137 (B.187-138a, 61341352).

137-188 (B.138b-139a, G.135b-136a),

138-139 (B.189b-140, G.136b-137).

140 (B.1 41, G.omits). 14] (B.142, G.138), 142-(B,148, G.139),

W161] TH® PRELIMINARIES OF A PLAY 95

the त्तव (Vedha) Cari, and they should go out together while performing any Carl other than the Aviddha one

The Tryasra Preliminaries

` 148-144, Thus, O Brahmins, should be performed the Preliminaries of the Caturasra type ; now I shall speak of that of’ the Tryasra type, Its use is similar and its component parts are the same ; the only feature that distinguishes it from the Caturasra oné is its abridged measure of ‘Tala.

145-146. [In it] the Samya should consist of two Kalas and the Tala of one Kala, and again the Samya is to consist of one Kala and the Sannipata of two Kalas. With this kind of measurement of Kala, Tala and tempo, should be performed the Tryasra Preli- minaries which include the Utthaipana and such other items.

147, The Dhruva (song) which has the fourth, the eighth, the tenth and the last syllables long in all its four feet of twelve syllables, is called the Utthapana Dhruva of the Tryasra (type.

148. In the Tryasra Preliminaries an expert dancer should abridge the instrumental music, movements [of persons, Dhruva songs and their Tala

14). The actions and movements [of a dancer] are to be

made of two types—elaborate and abridged—according as the instrumental and vocal musics are such. , 150-151. It is said that each movement of hands and feet should be of two Kalas’ duration, and in any Walking- round in the Caturasra (Preliminaries) the hands and fvet should be moved sixteen times, while in the ‘[ryasra Preliminaries they are to move only twelve times

151-152. This is the measurement of both (i.¢. of hand and foot movements) in the Preliminaries. But in the Walking-round, the foot movement should consist of three steps only, but in bowing

eee AL CD

143-144 (Bol 44.145, G.140-111). eae 145-145 (B.146-147, G.142-143). 147 (B.148, G.144). 148 (B.149, ©.145) 149 (B.150, G.146),

150-151 (B.151-152a, G.147-148a) 151-152 (B,152b-153, G-.148b-149).

96 THE NATYASASTRA = ` [ 4. 198.

to [the different] directions in the Caturasra Prelimineries ‘one should go five steps. 153. [But all these-matters] should be performed in the Tryasra Preliminaries according to the measure of Tala as the aster of the art thinks fit. Hence to avoid repetition no [elaborate] direction about the same has been given [here].

154. O the best of the Brahmins, thus should be perform- ed the pure Preliminaries of the Caturasra and the Tryasra types, which relate to a play depending on the Verbal Style,

The Mixed Preliminaries

155. So much about the pure Preliminaries which I was to describe, I shall now tell you how the producers may turn them to one of the mixed (citva) type.

150-157. After the Utthapani (Raising) Dhruva has been decorat'd with flowers given by the Fourth Man (raturthakara) and resounded with the well measured loud songs of musical ex- perts, Dundubhis should be played again and again

158, [And in the mixed Preliminaries thus begun] clusters of white flowers should be scattered all over [the stage], and the Afgahdras should be performed by [dancers dressed as] goddesses,

159-160. The Class Dance which has been described above with its [Pinis], Recakas, Angaliiras, Nydsas and Apanydsas should intervene the separate feet of the Benedictory (vandi) poems (140). ‘This rule should be put into practice by those who would turn pure Preliminaries into mixed ones.

161. After the ‘pure’ Preliminaries have been duly made mixed’ {all the dancers dressed as} goddesses should make their exit.

162. After the exit of all the female dancers the other parts of the Preliminaries should be performed.

153 (B.154, G.150). 154 (B.155, G.151). 155 (13.136, G.152). 156-157 (B.157-158, G.153-154). 158 (B.159, G.155). 159-160 (B.160-161, ‘G.156-157).

161 (B.162a, 163a, G.158), 162 (B.163b-] 64a, G. 159).

` -४. 167 ] THE PRELIMINARIES OF A PLAY 97

८ ~.; + 168, ` This is the manner in which the puré Preliminaries shonld be ehanged into mixed ones. But in the Preliminaries, be they of any type, there should not be too much dance and song.

` 164. If [in a performance] songs, music and dance continue for too long [a time] they tire out the artists as well as the

spectators, -

- 165. Tired [persons] can neither attain or help to attain a clear impression of the Sentiments and the States, and because of this the rest of the performance (^ of the play itself) cannot excite pleasure.

166. After performing the Preliminaries, be they Caturasra or Tryasra of the pure or mixed type, the Director along with his Assistants should make their exit from the stage’.

Introduction of the play

167. After the Preliminaries have been duly performed? in the manner described, the Introducer (sthapaka)? should enter [the stage] and he should resemble the Director (sttradhara) in every respect (lit. in quality and form).

न ~~

168 (B.1645-165a, © 160). 164 (B 165b-166a, G.161). 16४ (B.166b-167a, G.162). ' B. reads one additional couplet after this,

166 (B 168b-169a, 6७.168}. " B. reads tl:rec additional couplets (B. 169b-172a) after this.

167 (B 1 2b-173a, G.164). 1 The rending prajujya in 11.78 passage seems to be defective ; for the nominative to this prajyusya cannot be sthapaka (Introduccr). Dt:anaijaya (€, 10th century) clearly saya that the sitradhara \the Director) having gone out after the Preli- minaries (frvaraiga), another actor enters to introduce the drama ता. 2). The same is the opinion of Saradatanaya (€. 1175-1250). See the BhP. p.228, lines 56. Vivanitha also expressed a similar opinion. See the SD. VI. 26. Hence this passage should be construed some- what like the woll-known proverb rathe ca vamanam drstva punar- Janma na vidyate. It seems tiat Bhasa ent down the Preliminaries and made an end of the practice of getting the play introduecd by the sthipaka. This assumption will explain why Bana wrote st¢radhara- krtarambhath ९९. (Harsasearita, Introduction, 15).

° Ag. says stitradhira ena sthipakah, cf. note | above,

18

98 _ THE"NATYASASTRA , 1 Ws. 188:

168. He should assume the Vaisnava Sthana (posture)! and the Sausthava? of the body, and on entering the stave he should observe the foot movements which the Director had used, - ।

169. At the entrance of the Introducer the Dhruva’ :should be made suitable to the occasion (lit. meaning) and it will be either Caturasra or T'ryasra and be in medium tempo

170. Then he should perform a Cari in praise of. gods and Brabmins in accompaniment with the recitation of Slokas contain- ing sweet words and evoking various Sentiments and States.

171. After thus pleasing the spectators (lit-‘the stage) he should announce the name of the play-wright (lit. the poet), and then he is to start the Prologue (prastavana) which relates to proclaiming the theme of the play (lit. the poem)?,

172-173. Then by mentioning (lit. having recourse to) a god in a divine [play], a man in a human [play] and a god or a man in [a play] where gods and men [meet, he] should proclaim in different ways the subject of the play [lit. the poem] by variously alluding to its Opening (mukha) and Germ (^).

174. After introducing the play the Introducer (lit. the Brahmin who makes the introduction of the play) should हठ out [of the stage]. Thus should be performed the Preliminaries a¢cord ing to the rules :

175. If any producer-ofa play will perform the Preliminaries according to the rules laid down, nothing inauspicious will hiappett to him and he will [after his death] reach the heavenly ‘region

176, (On the contrary] whoever produces a play in-an willful violation of the rules [in this matter] will sustain great loss and will [after his death] be reborn as a creature of 4 lower order.

168 (B.173b-174a, G.165). \ See XI. 50-51. ° See XI. 89b, 918.

169 (B.174b-175a, G.166). 170 (B.175-176a, G.167).

171 (B.176b-177a, G.168). 1 B. reads one additional hemistich. 172173 (B.178-179, 6;169-170). 1 See SD. VI. 27. also DR. IL 3, 174 (B.180, G.171). 175 (B.181, G.172).°

176 (B.182, G.173). :

$. 179 J THE PRELIMINARIES OF A PLAY 9

177. Fire fanned by a strong wind does not burn [anything] 80 quickly as does the wrongly made production, र

178. In this manner the Preliminaries of two different ex- tents (pramana) should be performed by the people of Avanti, Paiicala, Daksinatya and-Odra regions,

179. 0 Brahmins, these are the rules regarding the Preli- mingries, Tell me what other rules ‘relating to the Natyaveda should be discussed now?,

Here ends Chapter V oi Bharata’s Natya¢astra which treats pf the Preliminaries to the production of a play.

177 (B.184, G.175). 178 (B.184, G.175). 179 (B.185, G.176). " The portion of this chapter after this sloka has not been translated. It is not from the hand of author of the Ns.

CHAPTER SIX THE SENTIMENTS

The, sages question.

1-3. After hearing about the rules regarding the Prelimina- ries, the great sages continued their inquiries and said to Bharata, “Answer five of our questions. Explain how the Sentiments enumerated by experts in dramatic art attain their special qualities. And why are the haus (States) so called, and what do they bhavayanti (make us feel)? Besides these, what are the real mean- ings of terms such as, Digest (sumyraha)! Memorial Verse (karika) and Etymology (nirukta)” ?

Bharata answers.

4, At these words of the sages, Bharata continued speaking and mentioned in reply to their question the distinction between the Sentiments and the States,

5-7. And then he said, “O sages, I shall tell you in detail and in due order about the Digest (sumyraha), the Memorial Verse (harika) and the Etymology (wirukta), I am not able by any means to exhaust all the topics about drama (१/4) ; for science (दिर and arts and crafts (éipa)® connected with it are repectively manifold and endless in number. And as it is not possible to treat exhaustively (lit. to go to the end of) even one of

these subjects which are [vast] like an ocean, there cannot be any question of mastering them all.

8 [Hence] I shall tell you about the Digest on Sentiments, States and such other matters, which bas its contents embodied?

~^ ae re -------------~-

1-3 (B.G. same), ‘For a possible chronological implication of samgraha, kariki, nirukta, sutra and bhasya mentioned in this chapter see Skt. Poetics, Vol. I. pp. 28 #f, 4 (BG. same),

57 (B.G. same). ' Shimini-vyikaranadini Sst rind (Ag),

2 stlpant—citrapustiids-karmint (Ag).

8 (B.G. same). 1 Road Sut ragthirtha,

{ VE 14. THE SENTIMENTS 101

ina small number of Sitras (short rules) but which promotes inference [about the understanding of the subject).

Digest, Memorial Verse and Etymology defined

9. When subjects taught in detail have been compressed and brought together in[a number of] Sitras and their Bhasyas (commentary), these latter constitute according to the learned a Digest (samgraha).

10. The Digest [of the Natyaveda treats} the Sentiments, the States, the Histrionic Representation yhhinays), the Practice (dharmi), the Styles (vrtti), the Success (siddhi), the notes (sara), the instrumental music (@todya), songs and the stage. *

11, Whena rule (lit. meaning) is explained (lit. uttered) briefly in the manner of aSitra by means of a minimum (lit. small) number of words it is called the Memorial Verse (ka@rita) which shows the meaning [of the rule clearly).?

12. The Etymology (nirwkte) is that which arises in con- nexion with various nouns, is helped by dictionaries and rules of grammatical interpretation, includes the meaning of the root involved as well as the reasons modifying it, and is helped by various findings [of Sastras}.

18. When the meaning [of a noun) is established from a consideration of its root [and pratyaya or affix], words expressing [अला] meaning in brief are called the Etymology.

14. 0 the best of the Brahmins, [the subjects included into] the Digest (samgraha), which I mentioned earlier, will now be discussed in detail with the necessary Memorial Verses (tarika) and Etymologies connected with them.

9(B.G same). 10 (B.G. same). | B, adds one more couplet after 10,

11 (B.12, G. same). } One additional characteristic of the (क # that it should be generally composed in metres like Gry or éloka, ८.८ the Simkhyakarska. ^ ५

12 (7.18, 6.19). 13 (B.14, 6.1): 14 (B.15, 6.14.

10 THE NATYASASTRA [WI 1b.

The eight Sentiments

15. Theeight Sentiments (rasa)! recognised in drama are as follows: Erotic (Saya), Comic (कुण), Pathetic (कषक) Furious (raudra), Heroic (viru), Terrible (bhayanaka) Odious

(bibhatsa) and Marvellous (adbhuta).*

16, These eight are the Sentiments named by Brahman; Tshall now speak of the Dominant, the Transitory and thé Temperamental States,! :

४

The Dominant States :

17. The Dominant States (sthayibhara)* are. known to be the following : love, mirth, sorrow, anger, energy, terror, disgust and astonishment.

18-21. The thirtythree Transitory States (vyabhirari- bhava)* are known to be the following : discouragement, weakness, apprehension, envy, intoxication, weariness, indolence, depression, anxiety, distraction, recollection, contentment. shame, inconstancy, joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening, indignation, dissimulation, cruelty, assurance, sickness, insanity, death, fright and deliberation. These are ‘defined by their names.

The eight ‘Temperamental States 22. Paralysis, Perspiration, Horripilation, Change of Voice,

15 (8.16, 6.15). ! rasa—A. ए, Coomaraswamy is for translating the Word ag favour’ (MG. p.17), =. ary । ।

* The later writers on Skt. poctios add one more शठ. (santa) ‘ta this number. ध,

16(B.17, 6.16). ' 0774-4. ए. Keith translates this word as ‘feeling’ or ‘emotion’. Sco Skt. Drama, p. 314, A. K. Coomaraswamy

and others translate it as ‘mood’ (10८ c1#.). We are with Haas who translates it as ‘State.’ See DR. p. 108. yo. :

17 (8.18, 6.17). ' sthay:bhiva—Keith translates the term’as ‘domis nant emotion’ (Skt. Drama) and Haas as ‘Permanent State’ DR.) and pthers a8 ‘permanent inood’ (e.g. 8. K. De, Skt Pocties, Vol. II. p. 26).

18-21 (B.19-22, @.18-21). ` These are also known as saltcdins-bhavg.

29 (B.98, 0.29). | $ bhiva—The word Satteska cannot be

VI 94 J . THE SENTIMENTS 408

Trembling, Change of Coloiir, Weeping and Fainting are the eight Temperamental States? The four kinds of Histrionie Representation

23. The four kinds of Histrionic Representation are Ges- tures (@ngika)!, Words (vaciku)9, Dresses and Make-up (aharya)® and the Representation of the Temperament (sattvika).*

The Two Practices

24, The Practice of Representation (dharm:) in a dramatic performance fs twofold: realistic (Lokadharmé, lit. popular) and goventional (nafyadharmi, lit. theatrical),

The four Styles

And the Verbal (bharat:), the Grand (sattcati), the Graceful (iaigiht) and the Energetic (arabhat:) are the four Styles (णदी,

properly translated into English. Keith docs not make any such attmpt (sce Skt. Drama) Haas translates the sadérrka-bhava as Involuntary States’. But this | secms to be very misleading, for the Ns. takes sa¢/va to be connceted with manas. (see VI. 94), and most of the later writers follow this work in this respect. So the autlor of the ND. (IIL. 153) writes 84'y/ मम aw ततुप्रयोजन @quafa साच्विकः मनोऽनवधाने fe a शक्यन्त एव खरभेदादयो mala edfaga, The NS, has also a definition of sattva which is as follows: @wma महत्‌ म्व (XXIV. 7). The autlor of the BLP. elaborately defines the term sa¢tra and ‘discusses the psychological process connected with its use; sce (pp. 13-14). Vigvanitha in his SD. (164) dofines sa¢ééza as follows: स्त नाम हाक्मविग्राम- प्रकाशकरो कथ्नानरो षभः,

23 (1.24, G.23). ¬ Giigdka—means Gestures of special kind defined- in the éastra ; sec NS, VILI-XIL.

? wastka—means Words suitable for representation of the different States (bara) composed by the playwright. Sce NS. XV-XXII.

3 Seo NS. XXIII. ५ See NS, XXIV.

24 (B.25-26a, G.24-25a). ' dkarmi—This word has not been very correetly used, But the meaning is clear; for details about dharrmi see NS. XILI 69-81.

+ Haas translates 21001 as Styles of Procedure (DR. p. 67). The four Styles aro translated by him as Eloquent (कका), Grandiose (sativati) Gay (द) and Horrife (Grabhali). We follow Keith’s translation (Skt. Drama, p. 326). For details about ४१४८ see NS. XX. iff,

"104 THE NATYASASTRA [ VI. 96.

The four Local Usages 9-26. Avanti, Daksinatya, Odramagadhi and Paiicdla- madhyama are the four Local’ Usages (y'tratt)! in a dramatic performance. :

Oe ५

The Suecess

The Success? in the dramatic performance is of two kinds : divine (शप) and human (०2), The Notes

27-99, And [musical] notes such as, Sadja, Rgabha ete. are seven! in number, and they fall into two gronps «human (80/77 lit. from body) and instrumental (vainera lit. from the Vina)?

The fow kinds of musical instruments

The musical instruments are of four kinds? : stringed (ata) “eovered (reanudihu), solid (ghana), and hollow (snsira). Among these, the stringed (tat) means an instrument with strings, the covered «arunaddia) means a drum, the solid (ghana) a cymbal and the hollow (swgira) a flute.

The five kinds of Dhruvis

29-30, Songs which relate to Dhruvas are of five kinds! ; acts ee Se Se en i

95-96 (B.26b-27a, G 25h-26a). 1 Aravrtti—Haas translates this word as ‘Loval Characteristics’, (See DR, p 74). The five geographical names (Avanti, Dikstinitya, Odra, Magadi.a and Pajcala) probably show that these were the parts of India where dramatic show was current at tlc time when tradition recorded in this NS, arose, Omission of the north-eastern part of India, including Bengal and Assam, probably slows that at that time these places were still in many respects outside the pale of Aryanized India. Ani the omission of the north-western India from this list may be explained on the assumption that it being on the way of the new immigrants wo frequently poured into this country the forma- tion at ai estinished usage was difficult. For details about praorttss see Nj. XIV. 36-56.

> siddhy (auccess)—For details about the Success see NS. XXVII. 1 ff

27-29 (12.28.30, G.27b 29). ' See NS, (€, रणा. 19, 11,

9 Seo NS. ©, श्ण, 1-2, -

99-30 (B.31-33a, 0.80-819). ' See NS. (C.) XXXII. 384-859,

“Vi. 31) THE SENTIMENTS 105

entering (praveéa), casual (aisepa), going out (nishramu), pleasing (prasadika) and intermediate (@ntara). And the playhouse is of the three types: oblong (vilysta), square (calurasra) and triangular (¢ryasra)?. .

81. So much about the Digest on drama giving its con- tents (lit. meaning by a small number of Sitras (concise rules). I shall now speak about the contents of the Siitra-work?.

The Sentiments explained

Tn that connexion T shall first of all explain the Sentiments (rasa). No meaning proceeds [from speech] without [any kind of] Sentiment. The Sentiment is produced (rasa-nispattih) from a combination (samyoga)? of Determinants (vilhava), Con-equents (anubhava) and Transitory States (vyabhicari-bhava). Is there any instance (9210) (parallel to it}. [Yes], it is said that, as taste (asa) results from a combination of various spices, vegetables and other articles’, and as six tzstes (vasa) are produced by articles such as, raw sugar or spices or vegetables, so the Dominant States (sthayibhava), when they come together with various other States (द्ध्व) attain the quality of the Sentiment (2, become Sentiment)*. Now one enquires, ‘What is the meaning of the word rasa”? Itis said in reply to this [that rasa is so called] because it is capable of being tasted (asra/yate). How is rasa tasted ? [In reply] it is said that just as well-disposed persons while eating food cooked with many kinds of spices enjoy (asvadayanti) its tastes (asa) and attain pleasure and satisfaction,

* B. adds one couplet after 30.

31 (B.38b-34a, G.31b, c). 1" The original of the next passage till the beginning of 33 is in prose.

2 "Tho NS. nowhere explains the terms 210९047 and samyoga of this definition and does not inelude the s/hayrbhavea in it (the def.). Hence the theory of rasa has come to be interpreted differently in later times by Lollata, Sahkuka, (Bhatta) Niyaka and Abhinavagupta. For a brief exposition of their views sce Visnupada Bhattacdrya—Sahityamimamsa (Bengali), Caleutta, 1948. pp. 33 ff.

° G. adds here one sentence more (Cathit........ .. ntspattih). +

५ ८4८1544 (G. rsaya रन), * 14

106 THE NATYASASTRA [ VI. 39

so the cultured people taste the Dominant States (sthayi-bhava) while they see them represented by aa expression of the various States with Words, Gestures and the ‘Temperament and derive pleasure and satisfaction. Thus is explained [the Memorial Verse ending with] tasman natyarasa iti5. For in this connexion there are two traditional couplets :

32-33, Just as connoisseur of cooked food (bhakta) while eating food which has been prepared from various spices and other articles, taste it, so the learned people taste in their mind the Dominant States (such as love, sorrow etc.) when they are represented by an expression of the States with Gestures, Hence these Dominant States in a drama are called the Sentiments.*

The relation between the Sentiments and the States.

3 Now one enquires, “Do the States (कषक) come out of the Sentiments (rasa) or the Sentiments come out of the States ?” On this point, some are of opinion that they arise from their mutual contact. But this is not so. Why ?

“Itis apparent that the Sentiments arise from the States and not the States from the Sentiments. For (on this point] there are [traditional] couplets such as :

34-35. The States are so called by experts in drama, for they cause to originate (bhavayanti) the Sentiments in connexion with various modes of dramatic representation. Just as by many articles of various kinds auxiliary cooked food (»yanjana) is

5 See below 33-34,

32-33 (B.35-36, G.32-33). 1 For a discussion on Bharata’s theory of rasa sce Skt. Pocties, Vol. II. pp. 25 ff.

2 The original of this passage till the beginning of 34 is in prose, but its reading ecems to be confused. In the light of the five Aarzkas that follow one may be justified in changing the order of some sentenecs and in emending it partially as follows: wary Suufernd भावेभ्यो रसानासमिनिक्तिरिति न तु रसेभ्यो भावनामभिनिहततिरिति। तत्र ees cae fe परस्यरसंयोगादेषामभिनिहततिरिति,

But if it is really an instanee of textual corruption it may be said to have been anctified by time, for Bhoja who refuted Bharata’s view on bhavas giving rise to rasas relied on this text. Cf. ए, Raghavan, Sr. Pr. 7, 26. 34-35 (B.88-39, G,84-35),

“VIL 49] THA SENTIMENTS 107

brought forth, 80 the States along with different kinds of Histrio- nic Representation will cause the Sentiments to originate.

36. There can be no Sentiment prior to (lit. without) the States and no States without the Sentiments [following it], and during the Histrionic Representation they are produced from their mutual relation.

37. Just as a combination of spices and vegetables imparts good taste to the food cooked, so the States and the Sentiments cause one another to originate (/havayanti),

38. Just as a tree grows from a seed, and flowers and fruits [including the seed] from a tree, so the Sentiments are the source (lit. root) of all the States, and likewise the States exist [as the source of all the Sentiments]*.

The eight Sentiments from the four original ones

Now we shall describe the origins, the colours, the [presiding] deities, and examples of these Sentiments. Sources of these [eight] Sentiments are the four [original] Sentiments ९ 4, Erotic, Furious, Heroic and Odious.?

39. The Comic [Sentiment] arises from the Erotic, the Pathetic from the Furious, the Marvellous from the Heroic, and the Terrible from the Odious.

40-41, A mimicry of tho Erotic [Sentiment] is called the Comic, and the result of the Furious Sentiment is the Pathetic, and the result of the Heroic Sentiment is called the Marvellous, and that which is Odious to sce results in the Terrible.

42.43, ‘The Erotic Sentiment is light green (yaa), the Comic Sentiment white, the Pathetic (Sentiment) ash-coloured

86 (B.40, G.86). 37 (B.4l, G.37).

99 (B.42,G.38). ` B adds onc prose’sentence more after this passage,

* The original of this passage till the beginning of 39 is in prose.

१ Bhoja criticises this view of the author of the Ns. in his Sr. Pr. Seo Ramaswamy Sastri Bh. P. Introduction p. 28; V. Raghavan, Sr. Pre 27

39 (B44, 6.99). 40-41 (B.45-46, G.40-41).

42-43 (B.47-48, G.42-48).

108 THE NATYASASTRA [ VI. 44.

(kapota), the Furious Sentiment red, the Heroic (Sentiment) light orange (yawr'a), the Terrible (Sentiment) black, the Odious (Senti- ment) blue and the Marvellous (Sentiment) yellow.

The presiding deities of the Sentiments

44-45, Visnu is the god of the Erotic, Pramathas of the Comic, Rudra of the Furious, Yama of the Pathetic, Siva (Maha- kala), of the Odious, Yama (Kala) of the Terrible, Indra of the Heroic, and Braliman of the Marvellous Sentiments.

पाः have been described the origins, the colours and the deitics of these (Sentiments). Now we shall explain the Determi- nants (vijhiva), the Consequents (azubhace), the Transitory States (ryabhicarin), their combination, and their definitions and examples.

We shall now enumerate the Dominant Statesin different Sentiments. :

The Erotic Sentiment

OF these, the Erotic (दासे ` Sentiment*proceeds from” the Dominant State of love (rati) and it has as its basis (lit. soul) a bright attire ; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the Dominant State of love (Srnyara). For example, one who is elegantly “dressed is called a lovely person (érvgariv), Just as persons are named, after the custom of their father or mother’ or famiiy_in accordance with the traditional authority, so the Sentiments, the States and other objects connected with drama are given names in pursuance of the custom and the tradltional authority. Hence the Erotic Sentiment has been so named on account of its usually being’ associated with a bright and elegant attire. It owes its origin to “men and women and relates to the fullness of youth. It has two bases’: union (sambhoga) and separation (vipralambha). Of these two, the Erotic Sentiment in union arises from Deteminants like the pleasures of the season, the enjoyment of garlands, unguents, ornaments [the

* 44-45 (B.49-50, (144-45). ‘The original of this passage till the heginning of 46, is in prose.

41.47] THE SENTIMENTS 109

company of) beloved persons, objects [of senses], splendid mansions, going toa garden, and enjoying [oneself] there, sceing the [beloved one], hearing (his or her words], playing and dallying [with him or her]. It should be representated on the stage by Conse- quents such as clever movement of eyes, eyebrows, glances, soft and delicate movement of limbs, and sweet words and similar other things. Transitory States in it do not include fear, indolence, eruelty and disgust. [The Erotic Sentiment] in separation should be represented on the stage by Consequents such as indifference, langour, [९३४ jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming awakening, illness, insanity, epilepsy, inactivity, [fainting], deafh and other conditions.

Now it has beeen asked, “If the Erotic Sentiment has its origin in love, why does it [sometimes] manifest itself through pathetic conditions १ [In reply to this] it is said, “It has been mentioned before that the Erotic Sentiment has its basis in union as well as in separation. Authorities on ars amatoria (vaisika- éastra) have mentioned ten conditions [of the persons separated from their beloved ones, which are pathetic], We shall discuss them in the chapter on the Common Histrionic Representation? The Pathetic Sentiment relates toa condition of despair owing to the affliction under a curse, separation from dear ones, loss of wealth, death or captivity, while the Erotic Sentiment based on separation relates to a condition of retaining optimism arising out of yearning and anxiety. Hence the Pathetic Sentiment, and the Erotic Sentiment in separation differ from each other. And this is the reason why the Erotic Sentiment includes conditions available in all other Sentiments.

46. And the Sentiment called Erotic is rich in pleasure, connected with desired objects, enjoyment of seasons, garlands and similar other things, and it relates to (the union of] man and woman. ध

‘There are besides two Aryas related to the preceding Sitra :

47-48, The Erotic Sentiment arises in connexion with

०8० NS. (C.) XXIV. |, 46 (B.52, G.46). 47-48 (B.54-55, G.47-48),

110 THE NATYASASTRA [ VI. 49.

favourable seasons, garlands, ornaments, enjoyment of the company of beloved ones, music and poetry, and going to the garden and roaming there. It should be represented on the stage by means of serenity of the eyes and the face, sweet and smiling words, satisfac- tion and delight, and graceful movements of the limbs.

The Comic Sentiment

1Now the Comic (hasya) Sentiment has as its basis the Dominant emotion of laughter. This is created by Determinants such as showing unseemly dress or ornament, impudence, greediness. quarrel, defective limb, use of irrelevant words, mentioning of diff- erent faults, and similar other things. This (the Comic Sentiment) is to be represented on the stage by Consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or con- tracting them, perspiration, colour of the face, and taking hold of the sides. Transitory States in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. ‘This (Sentiment), is of two kinds: self-centered and centered in others. When a person himself laughs it relates to the self-centred (Comic Sentiment), but when he makes others laugh it (the Comic Senti- ment therein) is centred in others.

There are two traditional Aryas here :

#9. As this makes one laugh by an exhibition of oddly placed ornaments, uncouth behaviour, words and dress and strange movement of limbs, it is called the Comic Sentiment.

50. As this makes persons laugh by means of uncouth behaviour, words, movement of the limbs and strange dress, it is known as the Comic Sentiment. -

51. This Sentiment is mostly to be seen in women and persons of the inferior type, and it has six varicties of which I shall speak presently,

52. They are: Slight Smile (smite), Smile (hasita), Gentle Laughter (vihasitu), Laughter of Redicule (upahasita), Vulgar

1 The original of thts passage till the beyiuning of 49 is in prose. 49 (B.58, G.49). 50 (B.59, G.50). 81 (B.60, G.51). 52 (B.61, ७.४9).

-VI. 60] THE SENTIMENTS 111

Laughter (apahasita) and Excessive Laughter (atihasita). Two by two they belong respectively to the superior, the middling and the inferior types [of persons).

53. To persons of the superior type belong the Slight Smile (smita) and the Smile (hasita), to those of the middling type the Gentle Laughter (vihasila) and the Laughter of Ridicule (wpahasita) to those of the inferior type the Vulgar Laughter (apahasita) and thé Violent Laughter (adihasita).

There are Slokas on this subjects :

5t The Slight Smile (smita) of the people of the superior type should beecharacterised by slightly blown checks und elegent glances, and in it the tecth should not be visible.

55. Their Smile (hesita) should be distinguished by bloom-

ing eyes, face and cheeks, and in it the teeth should be slightly visible.

Of persons of the middle type

56. The Gentle Laughter (vihasita) should have slight sound, and sweetness, and should he suitable to the occasion and in it the eyes and the cheeks should be contracted and the face joyful.

57. During the Laughter of Ridicule (wpahasita) the nose should be expanded, the eyes should be squinting, and the shoulder and the head should be bent.

Of persons of the inferior type

58, The laughter on occasions not suitable to it, the laugh- ter with tears in one’s eyes, or with the shoulder and the head violently shaking, is called the Vulgar Laughter (apahasita).

59. The Excessive Laughter (atihasifa) is that 0 which the eyes are expanded and tearful sound is loud and excessive, and the sides are covered by hands.

60. Comic situations which may arise in the coursé of a 53 (B.62,G-53), = 54 (0.68, 6.54). 55 (B66, 6.58). 56 (8.68, 0.56). 57 (7.69, 0.57). ४8 (8.71, G.58), ४9 (8.79, 0.59), = 60 (B.73,@.60).

119 THE NATYASASTRA [V. 96.

play, for persons of the superior, middling or inferior type are thus to be given expression to.

61. This Comic Sentiment is of two kinds : self-centred and centred in others; and it relates to the three types of persons : supe- rior, middling and inferior, and has thus {on the whole] six varieties,

The Pathetic Sentiment

1Now the Pathetic (tarune) Sentiment arises from the Domi- nant State of sorrow. It grows from Determinants such as afflic- tion under a curse, separation from dear ones, loss of wealth, death, captivity, fight [from one’s own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of Consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. ‘Transitory States connected with it are indifference, langour, anxiety, yearning, excitement, delusion, faintiug, sadness, dejection, illness, inactivity. insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like.

On this point there are two Aryas :

62. The Pathetic Sentiment arises from seeing the death of a beloved person, or from hearing something very unpleasant and these are its Determinants,

63. This is to be represented on the stage by Consequents like weeping loudly, fainting, lamenting ond bewailing, exerting the body or striking it.

The Furious Sentiment.

*Now the Furious (rawdva) Sentiment has as its basis the Dominant State of anger. It owes its origin to Rakgasas, Danavas and haughty men, and is caused by fights. This is created by

61 (8.74, 0.61). ` The original of this passage till the beginning of 62 38 in pros”. 62 (B.76, G,62).

63°(B,77, G.63). 1 The original of this passage till the beginning of 64 is in prose.

-VI. 66 ] THE SENTIMENS 113

Determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing of blood, and similar other deeds. This is to be represented on the stage by means ` of Consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the checks, pressing one hand with. the other, and the like. Transitory States in it are presence of mind, determination, energy, indignation, restlessness, fury, perspiration, trembling, horripilation, choking voice and the like.

Now oneenquires, “Is it to be assumed from the [above] statement about Rakgasas that they only give rise to the Furious Sentiment, and that this Sentiment does not relate to others ?” [Reply]. “No, in case of others too this Sentiment may arise. [But in case of Raksasas] it is to be understood as their special function. They are naturally furious, #for theyhave many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. Even in their love-making they are violent?. It is to be easily inferred that persons who imitate them give rise to the Furious Sentiment from their fights and battles.

On these points there are two Aryis : 64, The Furious Sentiment is created by striking, cutting,

mutilation and piercing in fights, and tumult of the battle and the like.

65. It should be repres-nted on the stage by special acts such as the release of many missiles, cutting off the head, the trunk and the arms.

66. Such is the Furious Sentiment viewed [by experts] ; it is full of conflict of arms, and in it words, movements and deeds are terrible and fearful.

2 G. considers this passage till the ond of this sentence as an arya (G.64), 5 Cf. Bhattikavya, VIII. 98. 64 (B.79, G.65). 65 (B.80, G.66). 66 (B.81, G.67), 15

114 THE NATYASASTRA { VI. 67-

The Heroie Sentiment

1Now the Heroic (vira) Sentiment, relates to the superior type of persons and has energy as its basis. This is created by Determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, agressiveness, reputation of might, influence and the like, It is to be represented on the stage by Consequents such as firmness, patience, heroism, charity, diplomacy and the like. Transitory States in it are contentment, judgement, pride, agitation, energy (vega), ferocity, indignation, remembrance, horripilation and the like.

There are two Aryas [on these points] :

67. The Heroic Sentiment arises from energy, persever- ance, optimism, absence of surprise, and presence of mind and {such other] special conditions (of the spirit].

68. This Heroic Sentiment is to be properly represented on the stage by firmness, patience, heroism, pride, energy, agressive ness, influence and censuring words.

The Terrible Sentiment

1Now the Terrible (bhayanaka) Sentiment has as its basis the Dominant State of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to [untimely ery of] jackals and owls, staying in an empty house or forest, sight of death or capitivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by Consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory States are paralysis, per- spiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like.

On these points there are two traditional Aryas : 69. The Terrible Sentiment is created by hideous noise,

1 The original of this passage till tho beginning of 67 is in prose. 67 (B.83, G.68), "68 (B.84, 6.69}. ' The original of this passage till the beginning of 69 is in prose, 69 (R86, G.70).

NI, 74] THE SENTIMENTS 115

sight of ghosts, battle, entering an empty house or forest, offending one’s superiors or the king.

70. ‘Terror is characterised by looseness of the limbs, the mouth and the eyes, paralysis of the thighs, looking around with uneasiness, dryness of the droopiag mouth, palpitation of the heart and horripilation.

71. This is [the character of] natural fear; the artificially shown fear also should be represented by these conditions. But in case of the feigned fear all efforts for its representation should be milder.

72, This’Terrible Sentiment should be always represented by tremor of the hands and the feet, paralysis, shaking of the body, palpitation of the heart, dryness of the lips, the mouth, the palate and the throat.

The Odious Sentiment

1Now the Odious (bibhatsa) Sentiment has 15 its basis the Dominant State of disgust. It is created by Determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by Consequents such as stopping the movement of all the limbs, narrowing down of the mouth, vomitting, spitting, shaking the limbs [in disgust] and the like. Transitory States in it are epilepsy, delusion, agitation, fainting, sickness, death and the like.

On these points there are two traditional Aryas :

78. The Odious Sentiment arises in many ways from disgusting sight, tastes, smell, touch and sound which cause uneasiness.

74, This isto be represented on the stage by narrowing down the mouth and the eyes, covering the nose, bending down the head and walking imperceptibly.

-----------~-~-~---------------

70 (8.87, G.71). 71 (B.88, G.72).

72 (B.89, 6.78). ¬ The original of this passage till the beginning of 78, is in prose. :

73 @.99, 0.74). 74 (B.98, G75).

116 THE NATYASASTRA LIV.

Lhe Marvellous Statiment

1The Marvellous (adthute) Sentiment has as tts basis the Dominant State of astonishment. It is created by Determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, temple, audience hall (sabha), a seven-storied palace and [secing] illusory and magical acts. It is to be represented on the stage by Consequents such as wide opening of eyes, looking with fixed gaze, horripilation, tears [of joy] perspiration, joy, uttering words of approbation, making gifts, crying incessantly ha, ha, ha, waving the end of dhoti or sai, and movement of fingers and the like Transitory States in it are weeping, paralysis, perspiration, choking voice, horripilation, agitation, hurry, inactivity, death and the like.

On this point there are two traditional Aryas ;

75. The Marvellous Sentiment is that which arises form words, character, deed and personal beauty.

76, This is to be represented on the stage by a gesture of feeling [sweet] smell, joyful shaking of limbs, and uttering of ha, ha, ha, sounds, speaking words of approbation, tremor, choking voice, perspiration and the like.

The three kinds of the Erotic, the Comic and the Tertible Sentiments

77. The Erotic Sentiment is of three kinds, viz, of words, dress, and action. And the Comic and the Terrible Sentiments are likewise of three kinds, viz, of limbs, dress and words.

The three kinds of the Pathetic Sentiment

78. The Pathetic Sentiment is of three kinds, viz. that rising from obstruction to lawful deeds, from loss of wealth and from bereavement,

The three kinds of the Heroic Sentiment

79. The Heroic Sentiment is likewise of three kinds, viz.

1 The original of this Passage till the beginning of 78, is in prose.

*75 (B.95, G.76), 76 (B.96, G.77), 77 (B.97, G.78), 78 (B.98, 6.79), 79 (B.99, 9.80).

V1. 88 } THE SENTIMENTS u?

that arising from making gifts, from doing one’s duty (dharma) and from fighting [one’s enemy } The three kinds of the Terrible Sentiment

80. The Terrible Sentiment is also of three kinds, viz, feigned fear, fear from a wrong action, and fear from an apprehen- sion of danger.

The three kinds of the Odious Sentiment 81, The Odious Sentiment is of three kinds, viz. nauseating, simple, and exciting. Of these the Sentiment from a sight of stopl and worms is nauseating, and the sight of blood and similar objects is exciting. ‘The three kinds of the Marvellous Sentiment 82. The Marvellous Sentiment is of two kinds, viz. celestial

and joyous. Or these the celestial is due to seeing heavenly sights, and the joyous due to joyful happenings?.

83. These are the eight Sentiments and their definitions, I shall hereafter speak of the characteristics of the States.

Here ends Chapter VI of Bharata’s Natyasastra which treats of the Sentiments.

, 80 (B.100, G81). 81 (B.101, G.82). 82 (B.102, G.83). 1 B. adds here a spurious passage on santa rasa.

CHAPTER SEVEN THE EMOTIONAL AND OTHER STATES Bhivas (States) explained

0. Now I shallsspeak of the bharas (States), An enquiry in this connexion is, “Why are the bharas (States) so called? Is it because they bhavayanti (pervade) and are hence called bhavas (States)?” It is said in reply that bhavas (States) are so called because through Words, Gestures and the Representation of the Temperament, they bhavayanti (infuse) the meaning of the play [into the spectators]. + Bhava is ‘cause’ or ‘instrument’, for words such as, bbdvitu, edsita and (१८५ are synonymous. An expression like, ‘O, all these things are /haritw (pervaded) by one another’s smell or moistened by one another’s juice, is established even amongst the common people. Hence the root bharaya means ‘to pervade’. Ont his point there are the following Slokas :

1. When the meanings presented by Determinants and Consequents are made to pervade (yamaytc) [the heart of the spectators] they are called bihavas (States).

2. Asin these the inner idea of the playwright (कण) is made to pervade [the mind of the spectators] by means of Words, Gestures, colour of the face and the Representation of the Temperament they are called bhavas (States).

3. As they cause the Sentiments relating to variois kinds of Histrionic Representation to pervade [the mind of the spectators], they are called bhavus (States) by those who produce a drama.

Vibhavas (Determinants) explained

“Now, why is the word vibhava used ?” [Answer]: “The word vibhava is used for the sake of clear knowledge. It is

0 (BG. same).

1 (B.1-2,G.1). | We read bhava iti karana(m) sadhanam yatha cto. 2 (९.9, ७.४), 3 (B.4-5, 0.8),

-VII.6} ` ,THE EMOTIONAL AND OTHER STATES 119

synonymous with karana, vimitta and hetu. As Words, Gestures and the Representation of the Temperament are vibhgvayte (deter- mined) by this, it is called vibhava (Determinant). Vibhavita (also) means the same thing as vijnata (clearly known).

On this point there is a Sloka :

4, As many things are vibhavyate (determined) by this through Words, Gestures and the Representation of the Temperament it is named vibh@ra (Diterminant).

Anubhiwas (Consequents) explained

“Now, why is the word anwhhava used 2” (Answer) “Because the Histrionic Representation by means of Words, Gestures and the Temperament are auubha@ryate (made to be felt) by this, it is edlled ५१, 2८५ (Consequent). ।

On this point there is a Sloka :

5, Asin it the spectators are anwhhavyate [made to feel] things by means of Words and Gestures it is called anuhhava and it relates to words as well as to [gestures and moyéments of] major and minor limbs.

Now we have explained that the States (ava) are related to Determinants (vibh@ra) and Consequents («nubhadva). Thus are the States (॥॥ 2८५) created. Hence we shall discuss the definitions and examples of the States together with their Determinants and Conse- quents. Of these, the Determinants and the Consequents are well- known among people. They being cannected with the human nature, their definitions are not discussed, This is for avoiding prolixity.

On this point there is the Sloka ;

6. Determinants and Consequents are known by the wise to be things which are created by human nature and are in accordance with the ways of the world.

The three kinds of States: Dominant, Transitory and Tempcramental

Now the Dominant States (stha@yi-bh@ra) are eight in num- ber. The Transitory States (ryabhicarinah) are thirtythree and

4 (B.6, G.4). 5 (B.7-8, 6.5), ' We read with 2. - 6 (B.9, G.6). :

120 THE NATYASASTRA [VIL 7-

the Temperamental States are eight in number. These are the three varieties of the States. Hence we are to understand that there are fortynine States capable of drawing out the Sentiment from the play. The Sentiments arise from them when they are imbued with the quality of universality (s&manya, lit. commonness).

On this point there is a Sloka :

7. The State proceeding from the thing which is congenial to the heart is the source of the Sentiment and it pervades the body just as fire spreads over the dry wood.

Difference between the Dominant and the other States

It is said in this connexion: “If the fortynine States being represented by Determinants (vibh@va) and Consequents (anubhava) coming into contact with one another become Sentiments when they are imbued with the quality of universality, how is it that Dominant States only ave changed into Sentiments (and not Deter- minants and Consequents)?” [In reply to this] it is said: “Just as among spersons having same characteristics and similar hands, feet and belly, some, due to their birth, [superior] manners, learning and skil! in arts and crafts, attain kingship, while others endowed with an inferior intellect become their attendants, in an identical manner, the !Dominant States become masters because on them Determinants (vibhava), and Consequents (anubhava) and Transitory States (vyabhicarin) depend. Similarly some of the other States (4.7. Determinants and Consequents) have the quali- ties of [king’s] local officers, and [hence] ‘Transitory States (vyabhicarin) become attendants to these (Determinants and Cons equents) because of their [superior] quality. Now it may be asked, “Is there any parallel instance ?” [Answer.] “Just as only a king surrounded by numerous attendants receives this epithet [of king] and not any other man, be he ever so great, 80 the Dominant States (sthayi-bhava) only foliowed by Determinants, Consequents and Transitory States receive the name of Sentiment. [On this point] there is a traditional Sloka :

7 (B.10-11, 6.7). | faarrgar-afinite: सखायिभावालुपाधरिता भवन्ताश्रयलात्‌

arhge: wife भावाः, तहन्‌ खानीयपरुषगुणोमूला न्दे MET रुददशया्रयते परप्िगभूता व्यमिषारिशो भावा. ।

५

VII. 10} THE EMOTIONAL AND OTHER STATES 121

8. Just as a king is superior to other men, and the preceptor (gw) is superior to his disciples, so the Dominant States (sthayi-bhavw) are superior to the other States (Determi- nants, Consequents and ‘Transitory States).

The Dominant States

~ Characteristics of these which are known as the Sentiments have been mentioned before. Now we shall discuss the marks of the States common to them. First of all we shall take up [the case of] the Dominant States (sthayi-bhava).

Love

Love (rati) which has pleasure as its basis is caused by Determinants like seasons, garlands, unguent, ornaments, dear ones. enjoyment of a superior residential house and absence of opposition [from any onc]. It is to be represented on the stage by Consequents such asa smiling face, sweet words, motion of eyebrows, and glances and the like.

There is a Sloka [on this point]

9. Love arises from the attainment of desired objects, because of its agreeableness. Jt is to be represented on the stage by sweet words accompanied by [suitable] gestures and movements of limbs.

Laughter Now Laughter (i@sya) is caused by Determinants such as. mimicry of others’ actions?, incolicrent talk, obtrusiveness, foolish- ness and the like. It is to be represented on the stage by means of Smile and the like On this point there is a traditional Sloka : 10. Laughter arises from a mimicry of other people’s

actions. It is to be represented on the stage by the learned — with Smile, Laughter and Excessive Laughter.

8 (B.12-14, 6.8) 9 (B.14-15, 6.9). | B. adds Aehaka after paracesti, 10 (B.16-17, G.10), ।

16

122 . THE NATYASASTRA [ VIL 14

Sorrow

Sorrow (69a) is caused by ‘Determinants such as death of the beloved one, loss of wealth, experience of sorrow due to any one’s murder or captivity, and the like. It is to be represented on the stage by Consequents such as shedding tears, lamentation, bewail- ing, change of colour, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. Weeping in this case is of three kinds: [weeping of joy, [weeping] of affliection and [weeping] due to jealousy. On these points there are traditional Aryas :

11. +Weeping in which the cheeks are blooming in joy, the hody is horripilating, there are words? of remembrance and tears are not concealed is called weeping of joy.

12. Weeping in which there is a loud sound, copious shedding of tears, uneasiness of the body, want of steady move- ments and efforts, lamentation after falling on the ground and rolling on the earth is called weeping due to affliction.

18. Loud weeping of women in which the lips and the cheeks are throbbing and the head is shaking, the eyebrows and the glances are moving in anger, is called weeping due to jealousy.

14. Sorrow relates to women, persons of the inferior type, and it has its origin in affliction [of any kind], With relation to it, persons of the superior and the middling types are distinguished by their patience and those of the inferior type by their weeping.

Anger

Anger (01401) is caused by Determinants such as insolence, abusive language, quarrel, altercation, opposing [persons or objects] and the like. Tt is to he represented on the stage by Consequents such as swollen nose, upturned eyes, bitten lips, throbbing cheeks and the like.

11 (B.19, 6.11). ! B. reads one additional couplet (B.18, before this, & Read sinusmaraniim vaganibhrtasram.

12 (B.20, G.12), 13 (B.21, 6.18), 14 (B.22-28, 6.14).

Vit. 90 ] THE EMOTIONAL AND OTHER STATES 123

15. Anger is of five kinds, viz., anger caused by enemies, superior persons, lovers, servants, and feigned anyer. On this point there are traditional Aryas :

16. One should show anger against resistance by the encmy with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and touching one’s own liead and breast.

17. One should show anger against control by superiors with slightly downcast eyes. wiping off slight perspiration and not expressing’any violent movement.

18. Ong should show one’s anger to the beloved woman by a very slight movement [of the body], by shedding tears, and knitting eyebrows and with sidelong glances, and throbbing lips.

19. Anger to one’s servants should be represented on the stage by means of threat, rebuke, dilating the eyes and casting contemptuous looks of various kinds,

20. Anger which is artificially shown with a view to the realisation of an ulterior motive and which mostly betrays marks of effort is called feigned anger, and it relates to two! Sentiments.

Energy Energy (षव) relates to persons of the superior type. It is caused by Determinants such as absence of sadness, power, patience, heroism and the like. It is to be represented on the stage by Consequents such as steadiness”, munificence, boldness of an undertaking, and the like. On this point there is a Sloka :

15 (B.24, G.omits). 16 (B.26, G.15). 17 (B.27, G.16). 18 (B.28, G.17), 19 (B.29, 6.18).

20 (B.30-31, G-19). ¬ ubhayarasa (2077054, G.),

2 Omit dharrva after sthatrya.

21 (B.32-38, G.20). 1 Omit saafada before sinya, 9 Omit वत before durdina.

124 THE NATYASASTRA [ VIL ॐ

21. Energy which has effort as its basis and which grows out of alertness and such other qualities, should be represented on. the stage by acts of vigilance and the like

Fear

Fear (bhaya) relates to women and persons of the inferior type. It is caused by Determinants such as acts offending one’s superiors and the king?, roaming in a forest, secing an elephant and a snake, staying it, an empty house, rebuke [from one’s superiors], 2a dark rainy night, hearig the hooting of owls and the ery of animals that go out at night, and the like. It is to be represented on the stage by Consequents such as, trembling hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking the lips, perspi- ration, tremor, apprehension [of danger}, secking for safety, run- ning away, loud crying and the like.

On this point there are Slokas :

22. Fear arises from anembarassment due to offending one’s superiors and the king, seeing terrible objects and hearing awful

things.

28. This isto be represented with tremor of the limbs, panic, drying up of the mouth, hurried movement, widely opened eyes and such other gestures and actions.

24, Fear in men arising from terrifying objects should be represented on the stage by actors (lit. dancers) with slackened limbs and suspended movement of the eyes.

Theve is also an Arya on this point :

25, This (fear) should be represented on the stage with tremor of hands and feet, and palpitation of the heart, paralysis,

licking the lips. drying up of the mouth, loosened limbs and sinking (visanna) body. . ।

To 22 (B.34, G.21), 28 (B,35, G.22),

24 (B.36, 6.29).

26 (B,37-38, G24),

“VII. 87] THE EMOTIONAL AND OTHER STATES 12 Disgust

Disgust (jugups@) relates to women and persons of the inferior type. It is caused by Determinants such as hearing ard seeing? unpleasant things, and the like. It is to be represented on the stage by Consequents such as, contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like.

On this point there isa Sloka.

26. Disgust is to be represented on the stage by covering the nose, contracting all the limbs, [general] uneasiness and

heartache.

४ Astonishment

Astonishment (rismaya) is created by Determinants such as illusion, magic, extraordinary feats of men, great excellence in painting, art-works in parchment? and the like. It is to be re- presented on the stage by Consequents such as wide Opening of the eyes, looking without winking of the eyes, [much] movement of the eyebrows, horripilation, moving the head to and fro, the cry of “well, done,” “well done,” and the like.

On this point there is a Sloka :

27. Astonishment arising from joy due to extraordinary acts should be represented hy means such as joy tears, fainting and the like.

The Transitory States

The Dominant States! are to be known as described here. We shall now explain the Transitory States (vythhicari-bhava), It is questioned, “Why are these called vyabhicarinah?” [In answer] it is said that vi and abhi are prefixes, and the root is cara meaning ‘to go’, ‘to move’. Hence the word cyabhicarinah means ‘those that move in relation to the Sentiments towards different kinds of objects. That is, they carry the Sentiments which are connected with Words, Gestures and the Temperament. It is questioned, “How do they carry [the Sentiments] ?” In answer it is said, “It isa popular

" Omit parikirtana after 1 117 26 (B.40-41, ७.26}. ' Omit vidya after ६0क. 97 (B.42-43, 0.26), 1 Omit rasasamjnak (B) after sthayino bhavah,

126 THE NATYASASTRA [ Vil. 28-

convention tosay like this, just as people say, The sun carries this naksatra (star) or that day. It does not however mean that these are carried on arms or shoulders. The Transitory States should be considered like this. These ‘Transitory States (vyahhi- ०2/10/4200) as mentioned in the Digest (xamgraha) are thirtythree 10 number. We shall describe them now.

Discouragement

Discouragement = (१/८) is caused by Determinants such as, being reduced to poverty?, getting insulted, abusive lan- guage, wrathful beating, loss of beloved persons and the knowledge of the ultimate (lit. essential) truth and the like. It is to be represented on the stage by Determinants such as weeping, sighing, deep breathing, deliberation and the like, on the part of women and persons of the inferior type.

On this point there is a Sloka:

25, Discouragement grows out of being reduced to poverty, and loss of dear ones, and it is to be represented on the stage by deliberatioA and deep breathing.

‘On this point there two traditional Aryas : 29. Discouragement arises from loss of dear ones, poverty, disease, envy from seeing the prosperity of others.

30. A discouraged man has the eyes .bathed in tears, face and eyes miserable due to heavy breathing and he is like a yogi absorbed in meditation.

Weakness

ई Weakness (ylani) proceeds from Determinants such as vomit- ting, purgation, sickness, penance, austerities, fasting, mental worry, too much drinking, sexual indulgence, too much exercise, travelling along way, hunger, thirst, sleeplessness and the like. It is to be represented on the stage by Consequents such as weak voice, lustreloss eyes, pale face, slow gait, want of energy, thinness of the body, change of colour and the like.

2 Omit wyvadhyavamana after damdra. 7 28 (B.44, 0.97). 29 (B.45, 6.26). 80 (B.47-48, 6.99),

«VII. 86 J THE EMOTIONAL AND OTHER STATES 127

On this point there are two Aryas:

31. Weakness gtows out of vomitting, purgation and sick- ness, penance, and old age. It is to be represented on the stage by thinness of the body, slow gait and tremor [of the limbs].

32. ‘Weakness is to be represented on the stage by a very weak voice, weakness of the eyesight, poor gait, constant slackness of the limbs.

Apprehension

Apprehension (Sank@) has doubt as its basis and it relates to to women and persons of the inferior type. Tt is caused by Deter- minants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents such as constantly looking on, hesitating movement (८११1101), dryness of the mouto, licking the lips, change of facial colour, tremor, dry lips, loss of voice and the like,

There is a Sloka on these points :

33. Apprehension in the Terrible Sentiment is due to

robbery, and the like, and in case of the Erotic Sentiment it is due to [a possible] deception on the part of the lover.

Some authorities prescribe (lit. desire) in this case a conceal- ment of appearence which is to be characterixed by [adoption of] clever tricks and gestures.

There are two Aryas in this connexion :

81, Apprehension is of two kinds: viz. that arising from one’s ownself and that arising from another person. That arising from one’s own self is to be known from one's eyes and efforts.

35. A man with*Apprehension has a dark face, a thick and protruding tongue, slightly trembling limbs, and he constantly

looks sideways. Envy

Envy (astya) is caused by Determinants such as various offences, hatred, other people’s wealth, good Inck, intelligence,

de

31 (0.49, 6.90). 92 (2,80.51, 6.3). = 38 (B,82-53, G 32). - 3५.84, G33). 35 (B.55-56, G.34),

198 THE NATYASASTRA . [ VET. 86-

sports, learning and the like. It is to bé represented on the stage by Consequents such as finding fault with others, decrying their virtues, not paying any heed to these, remaining with downcast face, knitting eyebrows in disparagement and abusing others in the assembly [of men].

On these points there are two Aryas :

36. Envy arises in a person who is displeased to see other people’s good fortune, wealth, intelligence, and exuberence of sportiveness

37. It is to be represented by a distorted face, knitting eye- brows, face turned away in jealous anger, decrying other people’s virtues and showing hatred towards them. ’

Intoxication

Intoxication (mada) is caused by drinking of liquor and smilar other things. It is of three kinds and has five Determinants. There are the following Aryas on this point :

38. Jotoxication is of three kinds, viz. light, medium and excessive, It has five causes which should be represented on the stage.

39. While intoxicated some sing, some laugh and some use hot words while other sleep.

40. Among these, persons of the superior type sleep, those of the middling type langh and sing, and those of the inferior type ery or use hot words.

41. Light intoxieation is characterised by smiling face, pleasant fecling, joyful body, slightly faltering words, delicately unsteady gait and relates to persons of the superior type.

42 Medium intoxication is characterised by drunken and rolling eyes, drooping arms or arms restlessly thrown about and irregularly unsteady gait, and relates to persons of the middling type.

36 (B.57, G.85), 37 (B.58-59, 6.56) 38 (B.60, G.37). 39 (B.61, 6.38. 40 (B.62, G.39). 41 (B.63, 6.40). 42 (B.64, 6.41). :

VIL 47] THE EMOTIONAL AND OTHER STATES 129

43. Excessive intoxication is characterised by loss of memory, and incapacity to walk due to vomitting, hiccough and cough, and a thick protruding tongue and spitting, and relates to persons of the inferior type.

44, A character who [acts] drinking on entering the stage is to show that his intoxication is increasing, but the character who enters the stage as drunk should show that his intoxication is decreasing.

45. But the intoxication should be stopped by effort when there is panic, grief and increase of terror duc to some cause.

46. On*account of these special conditions, intoxication

disappears quickly just as grief passes away on hearing the happy news of [sudden] prosperity.

Weariness

Weariness (fama) is caused by Determinants such as travelling a long way, exercising of the limbs and the like. + It is to be represented on the stage by \Consequents such as gentle rubbing of the body, [deep] breathing, contraction of the mouth, belching, massaging of the limbs, very slow gait, contraction of the eyes, making Sitkara and the like.

There is an Arya on this point:

47, Weariness in man is caused by travelling [a long way] and exercising [the limbs], and it is to be represented on the stage by [deep] breathing, tired gait and the like.

Indolence

Indolence (@lasya) is caused by Determinants such as nature, lassitude, sickness satiety, pregnancy and the like. And it relates to women, and men of the inferior type. It is to be represented on the stage by Consequents such as aversion to any kind of work, lying down, sitting, drowsiness, sleep and the like, On this point there is an Arya :

48 (7.62, 0.42). ` 44 (7.66, 6.43) 45 (B.61, 6.44). . 46 (B.68-69, G.45), 1 We follow the reading of the ms da in B. 47 (B.70-71, 8.46), 1 adhvagats for 2100470).

Vv

180 भः THE NATYASASTRA , पा. 48

48, Indolence arising from lassitude as well as nature should: be represented on the stage by discontinuance of all activity except taking food.

Dipression

Dipression (dainya) is caused by Determinants such as poverty, mental agony and the like. It is to be represented on the stage by Consequents such as want of self-command, dullness ofthe body, absent-mindedness, giving up of cleansing [the body] and the like.

There is an Arya on this point :

49. Dipression of men proceeds from anxiety, eager expec- tation and misery, Different modes of representing it on the stage includes giving up of cleansing [the hody] in any way.

Anrxicty

Anxiety (cinta) is caused by Determinants such as loss of wealth, theft of a favourite object, poverty and the like, It is to be represented on the stage by [deep] breathing, sighing, agony, meditation, thinking with a downcast face, thinness of the body and the like.

There are two Aryas on this point :

50. Anxiety of men arises in various ways : from the loss of wealth, theft of a favourite object, and a heart full of expectation.

51. It 18 to be represented on the stage by sighing, deep

breathing, agony, and absent-mindedness, giving up of cleansing [the body] and want of self-command.

Distraction

Distraction (moha) is caused by Determinants such as accidental injury, adversity, sickness, fear, agitation, remem: bering past enemity and the like. It is to be represented on the stage by Consequents such as want of movement, [excessive] a a Soh eee be ee eee oe

48 (B.92-73, 6.47). 49 (B.74-75, 6.48).

४0 (B.76, 6.49). 51 (B.77-78, 6.४0),

Vit. 55 j THE SMOTIONAL AND OTHER STATES 181 movement of [a particular] limb, falling down, reeling, not seeing properly and the like.

There is a Sloka on this point :

52. Due to seeing a robber in an unexpected place or from panic of different kinds distraction occurs to a man when he finds no help [near by].

There is also an Arya on this point :

53. Distraction occurs due to adversity, accidental injury, memory of past enemity. It is to be represented on the stage by suspension of the activity of all senses.

Recollection

Recollection (smrti) is remembering every eondition of happiness and misery. It is caused by Determinants such as impairment of health, disturbed nightly sleep, seeing and speaking with a level head, thinking, constant practice and the like. It is to be represented on the stage by Consequents such as notlding of the head, looking down, raising up the eyebrows and the like.

On this point there is a Sloka and an Arya :

54, One is said to be recollecting something when one remembers past happiness and misery’which were either conceived in mind or did actually occur and was forgotten.

55. Recollection arising from impaired health, or relating to the Vedas and Daréanas is to be represented on the stage by raising or nodding of the head and raising the eyebrows,

Contentment

Contentment (dhzti) is caused by [Determinants such as]- heroism, spiritual knowledge, learning, wealth, purity, good conduct, devotion to one’s superiors, ‘getting excessive amount of money, enjoying sports, and the like. It is to be represented on the stage by Consequents such as enjoyment of objects gained, and not

62 (B.79,-4.51), ४8 (B.80-81, G.52). 54 (2.89, G.53). 55 (B,83-84, 6.84). 1 Omit manoratha (B.G.) after adhtka,

182 THE NATYASASTRA {VIL 66-

grumbling over objects unattained, past, partially enjoyed, lost and the like.

On this point there are two Aryas :

56. (Contentment arising from spiritual knowledge, purity, wealth and power, is always to be represented on the stage by an absence of fear, sorrow and sadness. ‘

67. When one enjoys attained objects such as [sweet] sound, touch, taste, form and smell, and is not sorry over their non-attainment one is said to have Contentment.

Shame

Shame (छदो has improper action as its basis. It is caused by Determinants such as humiliation and repentance on account of transgressing words of su;eriors or disregarding them, nonfulfilment of vows and the like. It is to be represented on the stage by Consequents such as covered face, thinking with downcast face, drawing lines on the ground, touching clothes and rings, and biting, the nails, and the like.

There are two Aryas on this point :

58. When aman, after he has done anything improper, is seen by those who are pure, he becomes repentant and is ashamed.

59. The ashamed man will cover his face, draw lines on the ground, bite the nails and touch clothes and rings.

Tneonstancy

Inconstancy (capalata) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the like. It is to be represented on the stage by Consequents such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like.

There are two Aryas on this point,

56 (B.85, G.55). 57 (B.96-87, 656). 58 (B.88, G.57), 59 (B 89-90, 6.88).

VII. 62] THE EMOTIONAL AND OTHER STATES 183

60. When a man does anything like killing or imprisoning any one without any forethought he is said to be inconstant be- cause of his not being definite in his action.

Joy

Joy (Aarga) is caused by Determinants such as attainment of the desired object, union with a desired, trusted and beloved person, mental satisfaction, favour of gods, preceptor, king, and husband (or master), receiving [good] food, clothing and money and enjoying them, andthe like. It is to be represented on the stage by means of Consequents such as brightness of the face and the eyes, using sweet words, embracing, *horripilation, tears, perspiration and the like.

There are two Aryas on this point : 61. Joy is caused to a man when he has attained any

object or obtained anything which was unobtainable or has met his beloved one or has his heart’s desire fulfilled.

62. Itis to be represented on the stage by brightness of the eyes and the face, loving words, embrace, delicate movement of the limbs, and perspiration and the like.

। Agitation

Agitation (@vega) is caused by Determinants such as por- tents, wind or rains, [outbreak] of fire, running about of elephants, hearing very good or very bad news, stroke of adversity and the like. In this connexion portents include [a stroke of] lightning and , [falling] of meteors or shooting stars, eclipse of thesun and the moon, and appearance of comets. It is to be represented on the stage by looseness of all the limbs, sadness, distraction of the mind, loss of facial colour, surprise and the like. [Agitation] due to violent winds is to be represented by veiling [the face], rubbing the eyes, collecting [the ends] of clothes [worn], hurried going and the like, [Agitation] due to [heavy] rains is to be represented by lumping

60 (B.91-92, 6.59). 1 Omit pulakite after kantaksta (B.G). 61 08.98, ७.60). _ 63 (९,94.94, 0.61).

194 ` प्त NATYASASTRA [ $, 186

together of all the limbs, running, looking for some covered shelter, and the like. [That] due to (an outbreak of] fire is to be represented by eyes troubled with smoke, narrowing down all the limbs, or shaking them, running with wide steps, flight and the like, That due to running about of elephants is to be represented by hurried retreat, unsteady gait, fear, paralysis, tremor, looking back and the like, [That] from hearing something favourable is to be represented by getting up, embracing, giving away clothes and ornaments, weeping, horripilation and the like. That due to hearing anything unpleasant is to be represented by ‘falling down on the ground, lamentation, rolling about [लल] on a rough surface, running away, bewailing, weeping and the like. And that due to popular rising (pralyti-ryasaua) is to be represented by sudden retreat, taking up weapons and armour, mounting elephants and horses and chariots, striking’ and the like.

68. Agitation of these eight kinds has hurry as its basis, This is characterised by patience on the part of persons of the superior and the middling types; but agitation of persons of the inferior type is marked by flight.

On this point there are two Aryas :

64, Agitation occurs over an unpleasant report, disregard of instruction, throwing a missile and panic.

65. Agitation due to an unpleasant report bas as its Conse- quents assuming a sad look, and that due to a sudden appearance of enemy is to be represented by clash of weapons.

Stupor

Stupor (jagata) is caused by Determinants such as cessation of all activity, hearing of a much desired thing or a [very] harm- ful thing, sickness and the like. It is to ba represented on the stage by Consequents such as not uttering any word, speaking indistinctly. remaining absolutely silent, looking with steadfast gaze, dependence on others and the like. । न

1 samprakarana (pradharana ए. G.), ~

88 (8.96, 6.62). 64 (९.98, 0.68). 68 (.99-100, 6.64).

-VIT. 68 J THE EMOTIONAL AND OTHER STATES 185

“There is an Arya on this point :

66. A manis called stupid when duc to scnselessness he cannot distinguish between good and bad as well as happiness and misery, and remains silent and dependent on others

Arroganee

Arrogance (yarva) is caused by Determinants such as_king- ship, noble birth, personal beauty, youth, learning, power, attain- ment of wealth and the like. It is to be represented on the stage by Consequents such as contempt” [for others], harassing [people} not giving reply [to one’s question], not greeting [others], looking to sh ulders, roaming [at large], contemptous laughter, harsh words, transgressing [commands of] the superiors, insulting [others] and the like.

There is an Arya on this point :

67. Arrogance of persons of the inferior type due to learning, youth, beauty, royalty and attainment of wealth is to be represented by movement of the eyes and the limbs.

` Despair

!

\ ,. Despair (visada) is caused by Determinants such 28 inability to finish the work undertaken, accidental calamity and the like. It is to be represented on the part of persons of the superior and ‘the middling types by Consequents such as looking for allies, thinking about means, loss of energy, absent-mindedness, deep breathing and the like. And on the part of persons of the inferior type it is to be Fepresented by running away, looking down, drying up of the mouth, licking the corner of the mouth, sleep, deep breathing,. meditation and the like.

`. There are two Aryas on this point : 68. Despair arises from nonfulfilment the work begun, being

aken at the tine of committing theft, and giving offence to the king and the like.

aE I nn a er ee ee es 66 (B.101-102, G.65). 1 Omit astya before avasna. 67 (B.108-104, G.66), 88 (B.103, G.67),

196 THE NATYASASTRA [ VIT. 59

69. Incase of persons of the superior and the middling types this is to be represented by thinking about various means, and in case of persons of the inferior type sleep, deep breathing, and meditation are to represent it.

Impatience

Impatience (autsukya) is created by Determinants such as separation from beloved persons, remembering them, sight of a garden and the like. It is to be represented on the stage by Con- sequents such as sighs, thinking with downcast face, sleep, drowsi- ness, desire for lying down and the like. ;

There is an Arya on this point :

70. Impatience arises from the loss of beloved persons or from remembering them. This is to be represented on the stage by thinking, want of sleep, drowsiness, dullness of the body and desire to lie down and the like,

Sleeping

Sleeping (nilr@} is caused by Determinants such as weak- ness, fatigue, intoxication, indolence, [too much] thinking, too much eating, (soporific] nature and the like. It is to be represented on the stage by Consequents such as heaviness of the face, trolling of the body, rolling of the eyes, yawning, massaging of the body, deep breathing, relaxed body, closing the eyes and the like.

There are two Aryas on this point :

71. Sleep comes to a man through weakness, fatigue, exere tion, [too much] thinking, natural itendency [10 sleep] and keep- ing awake throughout the night.

72, It is to be represented on the stage by Consequents such as heaviness of the face, closing the eyes, or their rolling, stupor, yawning, massaging of the body and the like.

oe eeeeeeSeSeeSeseeeeSFSsSsaesesesesef 69 (B.106-107, G.68). 70 (B.108-109. G.69). 1 Sariva-lolana (avalokanaB,), 7} (B.110, 6.70). 72 (B,111-112, 6.77),

-VII. 75] THE EMOTIONAL AND OTHER STATES 187 Epilepsy

Epilepsy (apasmara) is caused by Determinants such as being possessed by a god, a Naga,a Yaksa,a Raksasa, a Pisaca and the like, and a memory of such beings, eating food left after somebody’s partaking of it, staying in a deserted house, non-obser- vation of proper time [in taking food, in sleeping etc.], derangement of humours (dhatu)* and the like, It is to be represented on the stage by Consequents such as throbbing, trembling, running, falling down, perspiration, foaming in the mouth, hiccough, licking [the lips] with ¢he tongue, and the like.

On this point there are two Aryas :

73, Epilepsy occurs in a person when he is possessed by Bhiitas and Pisacas, when he remembers these beings, [eats] Ucchista!, stays ina deserted house, disregards for proper time [for taking food ete.], and is impure [ body].

74. Falling down suddenly on the ground, trembling, foaming in the mouth, and rising up while senseless, are condi- tions during Epilepsy.

Dreaming

Dreaming (spt) is caused by Determinants such as inter- ruption of sleep, enjoying objects of senses, infatuation [of any kind], spreading the bed on the ground, dragging the bed over the ground and the like, The dreaming which occurs in sleep is to be represented by Consequents such as deep breathing, dullness of the body, closing the eyes, stupefaction of all the senses, dreams and the like,

There are two Aryas on this point :

75. Dreaming occurs due to interruption of slecp, enjoying objects of senses and infatuation {of any kind]. It is to be

1 They are three in number please viz. wind (vavu), bile (7८2) and Phlegm (kapha).

73 {B.118, G.72).1 That which is left over in onc’s plate after he has finished his meal. १५ (2.114.115, 6.79). 18

, 5.0.116, G.omit),

188 THE NATYASASTRA . (VII. 76-

represented on the stage by closing the eyes, deep breathing, dreaming dreams and talking while asleep.

76. Dreaming is to be represented on the stage by deep breathing, imperfectly closing eyes, stupefaction of all senses and absence of all activity.

Awakening

Awakening (vibodha) is the break of sleep, and it is caused

- by Determinants such as digestion of food, bad dreams, loud

sound, sensitive touch and the like. It is to be represented on the

stage by Consequents such as yawning, rubbing the eyes leaving, the bed, and the like.

There is an Arya on this point :

77. Awakening is caused by digestion of food, [loud] sound, (sensesitive] touch and the like. Tt is to be represented on the stage by yawning, rubbing the face and the eyes, and the like.

Indignation

Indignation (amavsa) is caused to persons abused or insulted by those having superior learning, wealth or power. It is to be represented on the stage by Consequents such as shaking the head, perspiration, thinking and reflecting with a downcast face; determi-. nation, looking for ways and means and allies, and the like.

There are two Slokas on this point :

78. Indignation grows in energetic men who have been abused or insulted in an assembly by those having superior learn- ing and wealth,

79. Ttis to be represented on the stage by energy, deter- mination, reflection with a downcast. face, shaking the head, pers piration and the like,

Dissimulation

Dissimulation.(avahittha) is the concealment of appearance.

It is caused by Determinants such as shame, fear, defeat, respect,

*

76 (B.117-118, 6.74). 77 B,119-120, 6.75). 78 (B,121, G76). , 79 (B,122-123, 6.77},

Vil. 8] THE EMOTIONAL AND OTHER STATES 139

deceit and the like. It is to be represented on the stage ky Con- sequents such as speaking like another person, looking downwards, break in the speech, feigned patience and the like.

There is a Sloka on this point :

80. Dissimulation is due to boldness, deceit, fear and the like. It is to be represented by carelessness about an action, and not speaking much in reply or in addressing [others],

1 Cruelty

Cruelty (ugrata) is caused by Determinants such as arrest of robbers, offence éo kings, offending words and the like. It is to be represented on the stage by Consequents like killing, imprisoning, beating, rebuking and the like.

There is an Arya on this point :

81. Cruelty occurs when a robber is arrested or the king is given affence. It isto be represented on the stage by Conse-

quents such as killing, imprisoning, beating, rebuking and the like. Assurance

Assurance (neti) is caused by Determinants such as thinking- about the meaning of many Sastras and considering the pros and cons of things. It is to be represented on -the. stage by Consequents such as instructing pupils, ascertainment of [any] meaning, removal of doubt and the like.

There is a Sloka on this point :

82. Assurance comes to men when they are well-versed in the meaning of many Sastras. It is to be represented on the stage by Consequents such as instructing pupils and explaining the meaning [of Sastras].

Sickness

Sickness (ryadhi) owes it origin to [an attack of .three humours such as] wind (rata), biles (pitta) and phlegm (kapha).

pene nee ee द

80 (B.124-}25,.G.78). 81 (B,126-127, G.79), 82 (B,128-129, G.80). |

140 THE NATYASASTRA [ VEL. 84:

Fever and similar other illnesses are special varieties of it. Fever is of two kinds, viz. that with a feeling of cold (Sita) and that with a feeling of heat (aha). Fever with a feeling of cold should be represented by Consequents such as shivering, tremor of the entire body, bending [the bodv], shaking of the jaws, narrowing down the nasal passige, dryness of the mouth, horripilation, lamentation and the like. And that.with a feeling of heat, is to be represented by throwing oat clothes, the hands and the feet, desire [to roll on] the ground, [use of] unguent, desire for coolness, lamentation, crying and the like. The other types of sicknesses are to be represented on the stage by Consequents such as narrowing down the mouth dullness of the body, [deep] breathing, making [peculiar] sounds, crying, tremor and the like.

There is a Sloka on this point :

88. Sickness in general should be represented on the stage by looseness of the limbs, throwing out the limbs and narrowing down the mouth due to illness.

Insanity

Insanity (wnmad) is caused by Determinants such as death of beloved persons, loss of wealth, accidental hurt, derange- ment of [the three humours]: wind (cate), biles (pitti), phelgm (élesman), and the like. It is to be represented on the stage by laughing, weeping, crying, talking, lying down, sitting, running, dancing, singing, and reciting [something] without any reason, smearing [the body] with ashes and dust, taking grass, Nirmalya?, soiled cloth, rags, potsherd, earthen tray as decoration [of the body], many other senseless acts, and imitation of others.

There are two Aryas on this point :

84, Insanity occurs owing to death of beloved persons, toss af wealth, accidental hurt, wid (vata), biles (pitta), phlegm

(kapha) derangement of the mind in various ways, * 4

+ Ss eee ee ~ 83 (B.130-13], G.8]. ' Remains of a flower-offering to a deity, whielr isysupposed to purify a person who takes it with reverence. 84 (B.132, 6.89),

-VII 86 J THE EMOTIONAL AND OTHER STATES 141

85. Insanity ie to be represented by laughing, wecping,’ sitting, running and crying without any reason and [other] sense- less acts. ।

` Death

` Death (दद) comes through sickness as well as acci- dentul injury. Of these two kinds of death, that from * sickness is caused by Determinants such as a malady of the intestine and the liver, colic pain, disturbance of humours, tumours, boils, fever, cholera, and the like. And that due to accidental injury is caused by weapons, snake-bite, taking poison, [attack of] fero- cious animals, fnjury due to falling down from elephant, horse, charriot and other vehicles. I shall now speak of the different methods of their representation on the stage. Death from sickness is to be represented on the stage by Consequents such as looseness of the body, motionlessness of the limbs, closed eyes, hiccough, deep breathing, looking for family members, speaking indistinct words and the like.

There is a Sloka on this point :

86. Death due to sickness is to be represented on the stage by one mark viz. loose body and inactive sense organs.

But death due to accidental injury is to be represented on the stage in different ways: ¢.y. [death due to] wound by Weapons is to be represented by Consequents such as suddenly falling down on the ground and the like. In case of snake-bite or taking poison [there is gradual] “development of its symptoms which are eight in number, viz. thinness (of the body), tremor, burning sensation, hiccough, foam from the mouth breaking of the neck, paralysis and death.

85 (.138-134, 6.82). 1 Earlicr -writers on the Hindu drama wrongly believed that NS. excluded scenes of death from the stage. (See Keith, Skt. Drama, pp. 222 ; also M. Ghosh. “A so-called convention of the Hindu Drama”, LHQ. , IX. 1933, pp. 981 ff.). Windish ms t that. Straka in his (Act. VII) violated a rule in showing the murder of ॥/ by Sakira (Der griechische Einfluss in indische Drama; Berlin, 1882, p, 43).

86 (B.18d186, 0.84).

iis THE NATYASABTRA [ VII. 87.

There are two traditional Slokas on this point :

87-88, The first symptom~ of the development [of the effect of poison] is thinness of the body, the second tremor, the third a burning sensation, the fourth hiccough, the fifth foaming in the mouth, the sixth breaking of the neck, the seyenth paralysis and and the cighth death.

There are besides two Aryas on this point :

89. Death due to [an attack of] ferocious animals, elephant, horse, or falling from chariots and mounts, wound by weapons should be represented by absence of any further movement of the body.

90. Thus death occurs under various conditions. It should be represented by proper words and gestures,

7 Fright

Fright (क्र) is caused by Determinants such as flash of lightning a meteor, thunder, earthquake, clouds, crying or howling of big animals and the like. It is to be represented on the stage by Consequents such as, shaking of narrow limbs, tremor [of the body], paralysis, horripilation, speaking with a choked voice, talking irrelevantly, and the like.

There is a Sloka on this point :

91. Fright is caused by a very terrible sound and the like. It-should be represented on the stage by looseness of limbs and half-shut eyes.

Deliberation

Deliberation (vitarka) is caused by Determinants such as doubt, cogiation, perplexity and the like. It is to be represented on the stage by Consequents such as various discussions, settling the definition, concealment of the counsel and the like,

There is a Sloka on this point: -

92. Deliberation whieh arises from discussions and which

‘has doubt as its basis is to be represented on the stage by movement of the head, the eyebrows and the eyelashes

89-88 (B.187-138, 0.8.86). 89 (B.139, G.87), _ 90 (B.140-141, 0.88). 9] (B,142-148, 6.89). 9 (B.144-148, 0.90).

VII. 94.) THE EMQTIONAL AND OTHER STATES 148

These are the thirtythree Transitory States ; they are to be produced in a play by men and women of the -superior, middling and the inferior types in conformity with [proper] place, time and occasion. . . ,

98. These thirtythree are known gs the Transitory States, I shalt now explain in detail the Temperamental States,

The Temperaniental States Now it may be questioned,

“Are these States (bhacw) called Temperamental because other States (Determinants, Consequents and Transitory States) are said to be without the Temperament ?” [In answer] it is said that the Temperament in this connexion is [something] originating in mind, It is caused by the concentrated mind, The’ Tempera- ment is accomplished by concentration of the mind. Its nature [which includes] paralysis, perspiration, horripilation, tears, loss of colour and the like, cannot be mimicked by an absent-minded man. Hence the Temperament is desired in a play for the purpose of imitating human nature. If the question is, ‘Is there any reason in support of this view 2’ then it may 16 said that in theatrical practice, situations of happiness as well is misery should so purely accord with the Temperament behind them that they may appear to be realistic (yathasvarape). How ran sorrow which has weeping as its basis be represented on the stage by any one who is not sorry ? And how can happiness which has joy as its basis be represented on the tage by any one whois not happy? Hence the Temperament (sattcq) being desired (in acting) in connexion with certain States the latter are called ‘Temperamental. The explanation of the Temperament is this, that tears and horripilation should respectively be shown by persons who are not [actually] sorry or happy.

94. Tlie eight Temperamental States are as follows: Paralysis, Perspiration, Horripilation, Change of Voice, Trembling, . Change of Colour, Weeping and Fainting.

93 (B.146-147, 6.90). 94 (B.148, 6.92), ` above VI 22 note I,

144 THE NATYASASTRA . [VIL 100.

Among these, Perspiration

95. Perspiration (sera) oceurs as the result of anger, fear, joy, shame, sorrow, toil, sickness, heat, exercise, fatigue, summer and massage.

Paralysis and Trembling

96. Paralysis ( séambha ) occurs as being due to joy, fear, sickness, surprise, sadness, intoxication and anger, and) Trembling (hanpasrepathy) due to cold, fear, joy, anger, touch [of the beloved] and old age.

Weeping

97. Weeping (asrv) ovcurs ax being due to juy, indignation, smoke, collyrinm, yawning, fear, sorrow, looking with a steadfast gaze, cold and sickness.

Change of Colour and Horripilation

98. Change of Colour (caivarnya) occurs as heing due to cold, anger, fear, toil, sickness, fatigue and heat, and Hor- , Tipilation (ष्की) due to touch, fear, cold joy, anger and sickness.

Change of Voiee and Fainting 3

99. Change of Voice (svaru-saila) occurs as being due to fear, joy, anger, fever, sickness and intoxication, and Fainting (prulayrt) duc to too much toil, swoon, intoxication. sleep, injury, astonisment and the like.

Representation of the Temperamental States

100. These are to be known by the wise as the eight Temperamental States, I shall speak afterwards about actions

which will represent these States, . + 95 (B.149, 6.98). 96 (150, ७.94). $7 (B.151, B.95), 98 (B.152, G.96).

, 99 (B.153, 6.97). 100 (B.159, 6.98).

-VII, 108] एए EMOTIONAL AND OTHER STATES 145

101. Paralysis should be represented on the stage by being inactive, motionless, smileless, like an inert object, senseless, and stiff-bodied.

102. Perspiration should be represented on the stage by taking up a fan, wiping off sweat as well as looking for breeze.

108, Horripilation should be represented on the stage by repeated thrills, hairs standing on the end, and touching the body.

104 Change of Voice should be represented by broken and choking voice, and Trembling by quivering, throbbing and shivering.

105. Change of Colour should be represented by alteration of colour of the face by putting pressure on the artery, and this is dependant on the limbs.

106 Weeping should be represented on the stage by rubbing the eyes and shedding tears, and Loss of Consciousness by falling on the ground.

Application of the States to the different Sentiments

107. These are the fortynine States (Uhava) of the three kinds mentioned by me. Now you ought to hear of the different Sentiments to which they are applicable.

“108. All the (fortynine) States except indolence, cruelty and disgust are applicable to the Erotic Sentiment (lit. raise the Erotic Sentiment by their own name).

109. Weakness, apprehension, envy, weariness, inconstancy, dreaming, sleeping dissimulation are the States applicable to the Comic Sentiment.

110. Discouragement,, anxiety, depression, weakness, weep=

ing, stupor and death are the States applicable to the Pathetic Sentiment.

101 (B.155, G.100). 102 (B.156, 0.99).

103 (28.157, G.102). . 104 (B.158, G.101).

105 (B.159, G.103-104a) 106 (cf. B.160-161, G.105). 107 (B.162, G.106). 108 (B.169, G.107).

109 (B.171, G.108). 110 (B.172, G.109).

ta

146 THE NATYASASTRA [ VII. 111-

111. Arrogance, envy, energy, agitation, intoxication, anger, inconstancy and cruelty are the States applicable to the Furious Sentiment.

112-113. Presence of mind, energy, agitation, joy, assurance, cruelty, indignation, intoxication, horripilation, change of voice, anger, envy, contentment, arrogance and deliberation are the States applicable to the Heroic Sentiment.

114. Perspiration. trembling, horripilation, choking voice, fear, death, change of colour are the States applicable to the Terrible Sentiment.

115. Epilepsy, insanity, despair, intoxication, death, sickness and fear are the States applicable to the Odoius Sentiment.

116. Paralysis, perspiration, loss of consciousness, horripila- tion, astonishment, agitation, stupper, joy and fainting are the States applicable to the Marvellous Sentlment.

117. These? Temperamental States which depends on the various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays.

118-119. No play in its production can have one Sentiment only. If in an assemblage of the many? States, Sentiments, Styles (प) and Local Usages (pravytti) [in the production of a play} any one item has varied representation it should be considered the Dominant Sentiment and the rest the Transitory ones®.

120. That which stands on the principal theme [of the

play] and is combined with Determinants, Consequents and ‘Tran- sitory States is the Dominant Sentiment.

111 (B.173, G.113). 112-118 (B.174-175, 6.110-111). 114 (B.176, G.114). 115 (B.177, G.115). 116 (B.178, G.115). 117 (B.179, G.116). । ye ४०८४८ (canye. B). = +. 1.1.11) 118-119 (B.180-181, 6.117-118). 1 dahtinam (sarvesiim G.). sama- vetanam.

. After this B. reads one additional couplet,

120 (B.183, G.119), :

-VII. 124] THE EMOTIONAL AND OTHER STATES “7

121. ?This Dominant Sentiment should be represented with an exuberence of the Temperament, but the Transitory States by mere gestures and postures (lit. form), for they are to support the Dominant Sentiment [and as such should not excel? it},

122. (An equally full representation of] a variety [of Senti- ments] does not please [the spectators}, and such a yaricty is rare in practical life (lit. amongst people). But a mixture of different Sentiments will however, bring pleasure [to the spectators] when such is carefully represented.

123. In [the production of] a play the Dominant, the ‘em- peramental and,the Transitory States which are supporters of the Sentiments and which are accomplished through many objects and ideas, should be assigned to male characters?,

124. The Sentiments and the States in plays are thus to be created. One who knows this well will attain the best Success [in the production of a play].

Here ends Chapter VIL of Bharata’s Natyasastra which treats of the Representation of the States.

121 (B.184, G.120). ` A disregard of this principle is liable to cause undue prominence to a minor character in a play and thereby to frustrate the principal object of the playwright.

2 After this B. reads some additional couplets (B.185-189a) which include a variants of 122 a (B.189a) and 122b (B.186b) and a repetition of 118a (B.186a) and 1186 (B,187a).

122 (B.184 foot-note, 9, G.121).

123 (B.189b-190a, G.122). |} pumsannkirnah (duspivakirnah B.G.),

3 An analysis of the plays of the best kind, known to us seems to explain this rule. For in almost all of them superior roles are assigned to men who ean better be made the vehicle of different and complex psychological states.

124 (B.190be, G.123).

CHAPTER EIGHT: THE GESTURES OF MINOR LIMBS Tne sages question.

1-2. Through your kindness we have heard in due order everything relating to the origin of the States (bhava)? and Senti- ments (rasa)?.~ We shall now like to know also what the experts say about the different kinds of Histrionic Representation, their meanings and different subdivisions.

8, O the blessed one, you are also to teil us accurately what kinds of Histrionic Representation are to be applied to which [places or occasions] by persons aiming at the Success.

Bharata answers,

4. On these words of the sages, Bharata spoke thus relating to the four kinds of Histrionic Representation.

5. “O sages, I shall now speak to you in detail so that the Histrionic Representation becomes properly explained to you.

1We shall speak of (the fact that] the abhinaya (Histrionic Representation) is of four kinds, The question is, “Why is it called the abhinaya ?” It is said in reply to this that the abhinaya is derived from the prefix abhi, and the verbal root ni meaning ‘to cause to get’ (to attain), and the sufix ac attached to these two, Hence a [full] answer to this should be made after a consideration of the root and its meaning.

There is a Sloka on this point :

6, As the root १ preceded by abhi means ‘carrying the per- formances (prayvya) of a play [to the point of direct] ascertainment

1-2 (8.9. same), ' 8०८ NS, VILL. 9 See NS. VI. 3 (BG. same). 4 (BG. same),

5 (B.5-6,G.5). + This portion till the beginning of 6 is origins ally in prose. 6 (B.7, 6.6).

VIII. 18] THE GESTURES OF MINOR LIMBS 149

of its meaning,’ so [the word made out of them] becomes abhinaya (carrying towards). `

The meaning of abhinaya

7. Abhinaya is so called because in the performonce [of a play] it together with the Sakha', the Aga? and the Upaiga® ‘explains the meaning of different [things].

The four kinds of abhinaya

8. 0 Brahmins, the Histrionic Representation of a play takes place in four ways, and on this (Representation) the plays of different types rest.

9, O Brahmins, this Histrionic Representation is known to be fourfold : Gestures! (@ayita), Words (raeilta) Dresses and Make-up (a@harya) and the Temperament (करव).

The Gesture : its three varieties

10. Of these, the Temperament has been described before, along with the States ; now listen first of all about the Gestures (G@nyika).

11. The Gesture is of three kinds, viz. that of the limbs (2170), that of the face (mukhaja) and that related to [different], movements of the entire body (ces@/rta) ineluding the Sakha, the 4729 and the Upanga.

12. Dramatic performance in its entirety relates to the six limbs including the major and the minor ones such as head, hands, lips, breast, sides and feet.

13. The six major limbs (vaya) are head, hands, breast, sides, waist and feet, and the (six) minor limbs (xpanya) are eyes, eyebrows, nose, lower lip and chin.

7 (B.8,G.7). 'Scel5 below. ` See 13 below. =» Sec 13 below. 8 (8.9, 9.8). 4

9 (8.10, 6.9). ! More properly ‘gestures and postures.’

10 (B.11, 6.10). 11 (8.12, 9.11}. 12 (B.18, 6.19). .

18 (B14, G. 18),

150 THE NATYASASTRA [ VIII. 20

14. Producers of plays should reckon the Sakha, dance (urtta) and the Atkura as the three aspects of the Histrionic Representation (abhinaya).

15. ‘The gestures (क्ण) are called the Sakha;? panto- miming through them is the Ankura? and that which is based on the Karanas* and consists of the Angaharas* is called dance (uytta).

16. 0 Brahmins, listen first of all about the different gestures of the head, which are included in the facial gestures and which support many Sentiments (asa) and States (bhava),

Gestures of the head and their uses °

17-18. ‘he gesture of the head is of thirteen? kinds, viz. Akamptita, Kampita, Dhuta, Vidhuta, Parivahita, Udvahita, Avadhuta, Aiicita, Nihaiicita, Paravrtta, Utksipta, Adhogata, and Lolita.

19. Akampita: Moving the head slowly up and down is called the Akampita.

Kampita ; When the movements in the Akampita head are quick and copious the same is called Kampita?.

20. (Uses); ‘I'he Akampita head is to be applied in giving a hint, teaching, questioning, addressing in an ordinary way (lit. naturally), and giving an order’,

14 (8.15, G.14).

15 (B.16, 6.15). 1 Sarigadeva defines the éabha and aikura as follows — भव wr@fa fre विषा acai) wed मूतोवा्माधेपुपन्ीग्य प्रवर्तिता । ater at भवेत्‌ मूचौ माविवाक्नोपजौकनात्‌। SR. VIL 37-38), From this we learn that the 84444 means the flourish of the gesticulating hand (Aara-vartana) preceding one’s speech whereas the aukura means such a flourish following it. 2 See NS, IV. 299 ff

* Soe NS. IV. 170 # ५ See ई, IV. 170 #

16 (B.17, G.16). "

17-18 (8.18-19, G.17-18). ' The AD. has nine gestures of the head. See ed. M. Ghosh, 49-65, and A.K, Coomaraswamy, MG. pp, 86-38,

19 (B.20, 0.19).

20 (8.21, 6.20). | B. reads one Additional couplet after this,

पा. 0] THE GESTURES OF MINOR LIMBS 151

21. The Kampita head is applicable (lit. desired) in anger, argument, understanding, asserting, threatening, sickness and intolerance.

22. Dhuta and Vidhuta : A slow movement of the head is called the Dhuta, and when this movement is quick, it is called the Vidhuta.

28. (Uses): The Dhuta head is applicable in unwillingness, sadness, astonishment, confidence, looking sideways, emptiness and forbidding. .

24. The Vidhuta head is to be applied in an attack of cold, “terror, panic, féver and the first stage of drinking. 25. Parivahita and Udvahita: When the head is alternately turned to the two sides it is called Parivahita, and when it is once turned upwards it is known as Udvahita :

26. (Uses): The Parivahita head is applicable in demons- tration, surprise, joy, remembering, intolerance, cogitation, conceal- ment and [amorous] sporting.

27, The Udvahita? head is to be applied in pride, showing height, looking high up, self-esteem and the like.

28. Avadhuta: When the head is once turned down it is called Avadhuta. (Uses) : It is to be applied in [communicating] a message, invoking [a deity] conversation and beckoning [one to come near},

29, Ajicita: When the neck is slightly bent on one side the Aiicita head is the result. (Uses) : It is applicable in sickness, swoon, intoxication, anxiety and sorrow.

30-21. Nihaiicita : When two shoulders are raised up with

21 (B.22, G.21). 92 (B 24, 6.22). 23 (B.25, 6.23). 24 (8.26, G.24). 25 (B.27, G.25), 1 ©. reads one additional hemistich between 25a and 25b, and names the head movement as ad@htita.

26 (B.28, G.26). : 27 (1.29, G.27). 1 2. reads the name as वदद, 28 (B.30, G.28). 29 (B.31, G.29).

30-81 (8.39-38, G.80-81).

162 THE NATYASASTRA { णा. 38.

the neck bent on one side the Nihaiicita head is produced. (Uses) : It is to be used by women in pride, Amorousness (vilasa)*, Light- heartedness (Jalila)® Affected Indifference, (Libboka)*, Hysterical Mood, (kilakifcita)*, Silent Expression of Affection (mottayita)®, Pretended anger, (hudéamita)®, Paralysis and Jealous anger (mana).

32. Paravrtta: When the face is turned round,the Paravrtta head is the result. (Uses): It is to be used in turning away the face and looking back and the like.

33. Utksipta: When the face is [slightly] raised the Utksipta head is the result. (Uses) : It is used in lofty objects and application of divine weapons.

34, Adhogata: The head with the face looking downwards is called Adhogata, (Uses): It is uscd in shame, bowing [in salutation] and sorrow.

35. Parilolita: When the head is moving on all sides, it is called Parilolita. (Uses): It is used in fainting, sickness, power of intoxication being possessed by an evil spirit, drowsiness and the like,

36. Besides these there are many other gestures of the head, which are based on popular acting. These are to be used according to the popular practice (lit. nature).

87. [ have spoken about the thirteen gestures of the head. Now I shall discuss the characteristics of the Glances.

The thirtysix Glances

38. The Glances expressing the Sentiments! are Kanta, Bhayanaka, Hasya, Karuna, Adbhuta, Raudri, Vira, and Bibhatsa,

1 See NS, XXIV. 15.

2 Sen 012 22. 5 Sce ibd 21. * See 10 18.

5 See 1412 19. ५ See 252d 20.

32 (B.34, 6.32). 33 (B35, 6.38). 34 (B.36, 6.84).

35 (B.37, 6.38). | B. reads after this an additional couplet.

36 (B.39, G.36). 37 (B.40, 6.37).

38 (28.41, G.38). The AD. too has only eight glances, ace ed. M. Ghosh, 66-78, and A. K. Coomaraswamy, MG. p.-40. But curiously enough the names of ‘the cight glanecs in the AD. even if referred by

VIII. 47] THE GESTURES OF MINOR LIMBS 158

89. The Glances to be used in the Dominant States are Snigdha, Hrsta, Dina, Kruddha, Drpta, Bhayanvita, Jugupsita and Vismité..

40-42, The Glances to be used in the Transitory States such as Sanya, Malina, Sranta, Lajjinvita, Glana, Sankita, Visanna, Mukta, Kuicita, Abhitapta, Jihma, Lalita Vitarkita, Ardhamukula, Vibhranta, Vipluta, Akekara, Vikoga, Trasta and Madira, make up their number thirtysix?.

The Glances to express the Sentiments

48. I shall now explain the characteristics of these Glances in connexion with the various Sentiments and the States, and shall describe their functions.

44, Kanta: When witha feeling of love a person con- tracts his eyebrows and castes a sidelong look, he is said to have a Kanta (pleasing) Glance which has its origin in joy and pleasure. It is used in the Erotic Sentiment.

45, Bhayanaki: The Glance in which the eyelids are drawn up and fixed, and the eyeballs are gleaming and turning up is called Bhayanaka (terrible). It indicates a great fear and is used in the Terrible Sentiment.

46. Hasya: In the Hasya (smiling) Glance the two eyelids are by turns contracted, and they open with the eyeballs moving and slightly visible ; it should be used in representing jugglary.

47, Karuna: The Glance in which the upper eyelid has descended, the eyeball is at rest due to mental agony, and the gaze is fixed at the tip of the nose, and there is tear, is called Karuna (pathetic).

Coomaraswamy’s text to the Bharatasastra, docs not occur in the NS which has no less than thirtysix glanecs. Besides the cight glances Coo- maraswamy’s text records (/oc. cit) fortyfour glances which include

those mentioned in the Nx. 39 (B.42, 0.89). 40-42 (B.43-45, G.43-42). 1 See note 1 to 38 above. 48 (B.46, 0.49). 44 (7.47 6.44). 45-46 (B.48-49a, G.45-46n). = 47 (B.49, G.46b),

20

164 THE NATYASASTRA [ VIII. 46.

48. Adbhuta: The Glance in which eyelashes are slightly curved at the end, eyeballs are raised in wonder, and the eyes are charmingly windened till the end, is called the Adbhaté (of wonder). `

49. Raudri: The pitiless Glance in which the eyeballs are rough, red, raised, and the eyelids are still and the eyebrows knitted, is called Raudri (cruel), and it is used in the Furious Sentiment.

.50. Vira: The Glance which is bright, fully open, agi- tated, serious, and in which eyeballs are at the centre of the eye (lit. level) is called Vira (heroic), and it is used in the Heroic Sentiment.

51. Bibhatsi: The Glance in which the corners of the eyes are nearly covered by eyelids, the eyeballs are disturbed in disgust and the eyelashes are still and close to each other, is called Bibhatsa (odious).

The Glances to express the Dominant States

52. The Glances defined here are known to occur in relation to the Sentiments. I shall now explain the Glances relating to the Dominant States.

58. Snigdhi: The Glance which is not much widened (lit. medium widened), is sweet, and in which eyeballs are still, and there are tears of joy, is called Snigdha (loving); it is used in love ( lit. grows out of love ).

54. Hrsta: The Glance which is moving, slightly bent and in which eyeballs are not wholly visible (lit. entering), and there is winking, is called Hrsta (joyful) ; it is used in laughter.

55. Dina: The Glance in which the lower eyelid is slightly fallen, eyeballs are slightly swollen, and which is moving very slowly, is called Dina (pitiable) ; it is used in sorrow.

48 (7.51, 6.48). = ^ 49 (7.59, 6.49).

50 (B.53, 6.50).

51 (B.54, G51). ` 7.6. add after this one couplet defining the santarasa.

52 (B,56, 6.58). 53 (B.57, 6.84). 54 (p.9, B.55, 6.66).

55 (p-9, B.56, 6.56).

-VIII, 691 THE.GESTURES OF MINOR LIMBS 156

50, Kruddha: The rough Glance in which eyelids are motionless and drawn up, eyeballs are immobile and turned up, and the eyebrows are knitted, is called Kruddha (angry) ; it is used in anger.

57. Drpta: The steady and widely opened Glance in which eyeballs are motionless, and which shows forth (lit. emits) prowess is called Drpta (haughty) ; it is used in energy (lit. grows out of energy).

58. Bhay&nvita: The Glance in which the eyes are widely opened, the eyeballs are mobile in fear and are away from the centre [of the eye], is called Bhayanvita (awe-stricken) ; it is used in fear.

59. Jugupsita: The Glance in which eyelids are contracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. the place in view) is called Jugupsita (disgusting) ; it is used in disgust.

60. Vismita: The level Glance which is fully blown and in which eyeballs are throughly turned up and the two eyelids are motionless, is called Vismita (astonished); it is used in astonishment.

The Glances to express the Transitory States

61. These are the Glances relating to the Dominant States, that I have just defined. I shall now explain the characteristics of the Glances in the Transitory States.

62. Sunya : The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary position (lit. level), and which turns to the space and is not attentive to external objects is called Sunya (vacant).

63. Malina: The Glance in which ends of the eyelashes are not shaking and ends of the eyes are pale, and which is charac- terised very much by half-shut eyelids, is called Malina (pale), 1

56 (p.9, 357, 0.67). = 67 (0.9. 8.58, 0.58). = 58 (B.59, 0.59). 59 (B 60, 6.60). 60 (8.61, 6.61). 61 (8.69, 6.62). 62 (7.69, 6.68). 68 (B64, 6.64),

156 THE NATYASASTRA { VIII. 64

64. Sranta: ‘The resting Glance in which eyelids have been let down due to fatigue, corners of the eyes are narrowed, and the eyeballs are fallen, is called Sranta (tired).

65. Lajjanvita: The Glance in which ends of the eyelashes are slightly bent, the upper eyelid is descending in shyness, the eyeballs are lowered due to shame, is called Lajjanvita (bashful).

66. Glina: The languid Glance in which the eyebrows and the eyelashes are slowly moving and eyeballs are covered [under the eyelids] due to fatigue, is called Glina (lazy).

67. Sahkita: ‘I'he concealed (lance which is once moved, and once at rest, slightly raised, obliquely open and in which the eyeballs are timid, is Sankita (apprehensive)

68. Visanna: The bewildered Glance in which eyelids are drawn wide apart in dejection, and there is no winking and the eyeballs are slightly motionless, is called Visanna (dejected).

69. Mukula: The Glance in which eyelashes are slightly trembling, the upper eyelids are of the Mukula type and the eyeballs are opened in happiness, is called Mukula.

70. Kuficita: The Glance in which ends of eyelashes are bent due to the eyelids being contracted and the eyeballs are also contracted, is called Kuiicita (contracted),

71, Abhitapts: ‘The Glance in which the eyeballs are slowly moving due to the movement of the eyelids, and which indicates प्रप्ता distress and pain, is called Abhitapta (distressed).

72 Jihma: The Glance ‘in which the eyelids are hanging down and slightly contracted and the eyeballs are concealed, and which casts itself obliquely and slyly is called Jihma (crooked),

73, Laliti: The Glance which is sweet, and contracted at the end [of the eye] and which is smiling and has movement of the eyebrows, and shows signs of love is called Lalita (amorous).

64 (B.65, 6.65). 65 (B.66, G.66) 66 (7.67, G.67). 67 (B.68, 6.68). 68 (B.69, 9.69) 69 (B.70, 6.70). 70 (B.71, 6.71). 71 (B.72, 6.72). 72 (1.73, 0.73). 73 (B.74, G74),

VIL. 8] THE GESTURES OF MINOR LIMBS 187

74. Vitarkita: The Glance in which the eyelids are turned up for guessing, the eyeballs are full blown and moving downwards is called the Vitarkita (conjecturing).

75. Ardhamukula: The Glance in which owing to joy the eyelids are of the Ardhamukula‘type, the eyeballs are half-blown and slightly mobile is called Ardhamukula,

76. Vibhranta: The Glance in which the eyeballs are movingvand;so are the eyelids, and the middle [of the eye] is wide open“and full-hlown, is called Vibhranta (confused)*.

77. Vipluta: The Glance in which the eyelids [first] tremble भावनी) become, motionless and the eyeballs are [again] disturbed, is called Vipluta (disturbed).

78. Akekara: The Glance in which the eyelids and the corner of the eyes are slightly contracted and joined together and is half-winking, and the eyeballs ure repeatedly turning up, is called Akekara (half-shut).

79. Vikogi: The joyful Glance in which the two eyelids are wide open and there is no winking and the eyeballs are not immobile, is called Vikoé (full-blown).

80. Trastt: The Glance in which the eyelids are drawn up in fear, the eyeballs are trembling and the middle of the eye is full-blown due to panic, is called Trasta (frightened).

81, Madira: The Glance in which the middle of the eye is rolling, the ends of the eyes are thin, the eyes are bent, and the corners of the eyes are fully widened, is called Madira (intoxicated). It is to be used in representing light intoxication.

82. In medium intoxication this Glance should have its eyelids slightly contracted, the eyeballs and and the eyelashes slightly mobile.

83. In excessive (lit. the worst) intoxication the Glance

74 (B.73, G.75). 75 (B.76, 6.76)

76 (B.77, 6.77). ' 7.6. read 76b: differently.

77 (B78, 6.78). 78 (B.79,G.79). 79 (B.80, G.80). 80 (B81, G.81). 81 (B.82, G.82). 89 (B.88, G.83). -

83 (B.84, G.84).

168 THE NATYASASTRA ( VII. 84.

should have [either too] much winking or no winking at all, and the eyeballs in it should be slightly visible, and it (the look) should be turned downwards.

8 These are the thirtysix Glances due to the Sentiments and the Dominant States described by me. Now listen about their

uses, Uses of the Glances expressing the ‘Transitory States

85, The Glances due to the Sentiments are to be used in representing them, while Glances due to the Dominant (States) should be used*tin expressing these. Now listen about the uses of the Glances due to the Transitory States in répresenting these (States),

86-93. Sunya (vacant)—in anxiety aad paralysis (motion- lessness).

Malina (pale)—in discouragement, change of colour.

Sranta (tired)—in ‘weariness and depression. \

Lajjanvita—(bashful)!—in shame.

Glana.(lazy)—in epilepsy, sickness and weakness.

Saakita (apprehensive)—in apprehension.

Visanna (dejected)—in depair.

-Mukula—in’sleeping, dreaming and happiness.

Kuicita (contracted)—in envy, undesirable object, objects visible with difficulty and pain in the eye.

Abhitapta (distressed)—in discouragement, accidental hurt and distress.

Jihma (crooked)—in envy, stupor and indolence. Lalita (amorous)—in contentment and joy.

Vitarkita (conjecturing)—in recollection and deliberation.

Ardhamukula—in joy due to an experience of [sweet] smell or touch.

84 (B.85, 0.84). ` We adopt G's reading. * 85 (8.86, G.85), 86-93 (B.87-94, 0,87-94). * Jayyita (८०4, B,).

-VITE, 96 | THE GESTURES OF MINOR LIMBS 159

Vibbranta (confused)—in agitation, hurry and confusion.

Vipluta (disturbed)—inconstancy, insanity, affliction of misery and death.

Akekara (half-shut)—in looking to a distant [object], separation and consecration by sprinkling (proksita)?.

Vikosaé (full-blown)—in awakening, arrogance, indignation cruelty and assurance.

Trasta (frightened)—in fright.

Madira Gntoxicated)—in intoxication.

94-95. Here I have finished the proper discription of the thirtysix Glances ; now listen about the [additional] Glances, and gestures of the eyeballs, the eyelids and the eyebrows due to the Sentiments and the States,

The eyeballs

95-96. Eyeballs have gestures of nine kinds: Bhramana (moving round), Valana (turning), Pata= Patana (relaxing), Calana, (trembling), Sampravesana, (drawing inside), Vivartana, (turning sideways), Samudyrtta (raising up), Niskrama (going out) and Prakrta (natural).

96-98. Bhramana (moving round)—turning round the eyeballs at random.

Valana (turning)—moving (the eyeballs) obliquely.

Patana= Pata (relaxing)—the relaxation (of the eyeballs.)

Calana (trembling)—the tremor (of the eyeballs.)

Sampravegana=Pravega (drawing inside)—drawing (the eyeballs) in.

Vivartana (turning)—turning the eyeballs sideways in a sidelong glance (०128१),

'B.G. read preksitese.: 94-95 (B.95, G.95). ( : 95-96 (B.96b-97a, G.96). ' B.G, read one additional couplet after

1

this.

96-98 (B.98b-100a, G.98-100a),.

160 THE NATYASASTRA [ VI, 99-

Samudvrtta (raising up)—the raising up of the eyeballs.

Niskramana (going out)—going out. [as it were of the eyeballs.]

Prakrta (natural))—eyeballs in the natural (glance.)

Usrs of the eyeballs

99-101. Now listen about their uses in [different] Senti- ments and States.

Bhramana (moving round), Valana (turning) and Samudvrtta (raising of eyeballs)—in the Heroic and the Furious Sentiments.

Niskramana (going out), and Valana (tusning of the eyeballs)—in the Terrible Sentiment.

Sampravesana (drawing of the eycball)—in the Comic and the Odious Sentiments.

Patana (relaxed eyeballs) in the Pathetic Sentiment.

Niskramana (going out of the eyeballs)—in the Marvell- ous Sentiment.

Prakrta (natural) eyeballs—in the remaining Sentiments (lit. States).

Vivartana (turning sideways of the eyeballs)—in the Erotic Sentiment. ~ 102. These are the natural gestures of eyeballs based on the

popular practice. They are to be applied [suitably] to all the different States.

The additional -Glanecs

103-107. T shall speak about the varieties of Glances in special relation of these (lit. there). These are of eight kinds, viz. Sama (level), Saci (sidclong), Anuyrtta (inspecting), Alokita (casual), Vilokita (looking round), Pralokita (carefully looking), Ullokita (looking up‘, and Avalokita (looking down).

99-101 (B.101b-104a, ($.100b-102a). 102 (B.104b-105a, G.102b-104a). 103-107 (B.105b-110a, G.104-109a).

-Villb 108] THE GESTURES OF MINOR LIMBS 161

Sama (level)—the eyeballs are in a level position and at rest, स्थ (side-long)—the eyeballs are covered by eyelashes. Anuvrtta (inspecting) —Glance which carefully observes any form. Alokita (casual)-—(the eyeballs) in suddenly Seeing any object). + Vilokita (looking round)—(eyeballs) in looking back. Pralokita (carefully looking)—turning (eyeballs) from side to side. : Ullokita (looking up)—(turning the eyeballs) upwards. Avalokita (looking down)—(turning the eyeballs) towards the ground.

These are the gestures of the eyaballs in relation to all the Sentiments and the States,

The eyelids

108-111. Now listen about the gestures of the eyelids fallow which the movements of eyeballs They are ; Unmesa (opening), Nimega (closing), Prasrta (expanding), पीला (contracted), Sama (level), Vivartita (raising up), Sphurita (throbbing), Pihita (resting), and Vitadita (driven).

Unmesa (opening)—separating the eyelids

Nimega (closing)—bringing together the eyelids.

Prasrta (expanding) “separating the eyelids widely.

Kuicita (contracted)—contracting the eyelids.

Sama (level)—eyelids in a natural position.

Vivartita (raising up)—raising up the eyelids.

Sphurita (throbbing)—when the eyelids are throbbing.

Pihita (resting)—when the cyelids are at rest (lit. closed),

Vitadita (driven)—when struck the eyelids are struck tecidentally, .

न 108-111 (B.110b-114a, G@.109b-113a), 21

162 THE NATYASASTRA , [ VIEL. 11

Uses of the eyelids 112-115. Now listen about their uses in different Senti- ments and States : d Vivartita (raising up)—in anger. Nimesa (closing)—in anger, Unmesa (opening)—in anger. Prasrta (expanding)—in objects causing wonder, joy, and heroism. ^ Kuiicita (contracted)—in seeing undesired objects. (sweet) scent, flavour and touch. Sama (level)—in love. Sphurita (throbbing)—in jealousy. Pihita (resting —ion dreaming, fainting, affliction due to storm, hot smoke, rains and collyrium and eye-disease. Vitadita (driven)—in accidental injury. These are the uses of the eyeballs and the eyelids in express- ing the Sentiments and the States. —_ | ; The eyebrows : ` 116-120. Now, listen about the gestures of eyebrows, which accord with those of the eyeballs and the eyelids. (They) are seven in number and are as follows: Utksepa (raising), Patana (lowering), Bhrukuti (knitting), Catura (clever), Kuiicita (con- tracted), Recita (moving) and Sahaja (natural). Utksepa (raising)—raising of eyebrows simultaneously or one by one. Patana (lowering)—lowering of eyebrows simultaneously or one by one, Bhrakuti (knitting) - raising the root of tho eyebrows. (वपा (clever)—slightly moving and extending the eye- brows in a pleasing manner. 112-115 (B.114b-11a, @.118b-117a). 116-120 (B,118b-123a, G.1.17b-122a),

WWIII, 126 ] THE GESTURES OF MINOR LIMBS 163 Kuiicita (contracted)—slightly bending of eyebrows one by one or the both at once,

Recita (moving)—raising of one of the eyebrows in an amorous way.

Sahaja (natural)—the position which the eyebrows maintain by nature.

Uses of the eyebrows

121-125, Now I shall speak about their uses in (expressing) the Sentiments’ and the States.

Utksepa ,(raising)—in anger, deliberation, passion, sporti- venoss, in seeing and hearing only one eyebrow is raised, and in surprise, joy and violent anger both the eyebrows are raised up.

Patana (lowering)—in envy, disgust, smile, and smelling.

Bhrukuti (knitting)—in objects of anger, dazzling light.

Catura (clever)—in love, sportiveness, pleasing (object), (pleasing) touch? and awakening.

Kuiicita (contracted)—in manifestation of affection, pretended and hystericai mood.

Recita (moving)—in dance.

Sahaja (natural)—in simple (andviddha) conditions. The nose

126-123. Gestures of the eyebrows have been described ; now listen about those of the nose, They are of six kinds: Nata, Manda, Vikrstd, Socchvasa, Vikiinita and Svabhavika.

Nata —lobes are constantly clinging (8istaputa)

Manda—lobes are at rest.

Vikrsta—lobes are blown.

Socchvasi—when air is drawn in.

Vikiinita—the contracted nose.

a el a ee

121-125 (B-123b-126, 128-1298, G.122b-127a). 1B. reads 124 a differently and one additional hemistich after this. 4 126-128 (B.129b+132a, G.127b-T30a).

164 THE NATYASASTRA [ णा. 185-

Svabhavika—the natural nose. Uses of the nose

129-132. This is the description of the gestures of the nose, Now listen about their uses :

Nata—in slight weeping at intervals,

Manda—in discouragement, impatience and anxiety.

Vikrsti—in strange smell, breathing, anger and fear.

Socchvasi—in sweet smell and deep breathing,

Vikinita—in laughter, disgust and envy.

Svabhavika—in the remaining conditions.

The cheeks

132-184. Cheeks are of six kinds: Ksama (depressed). Phulla (blown), Piirpa (full), Kampita (trembling) and Kuiicita (contracted) and Sama (natural).

Ksama (depressed)—(cheeks are) fallen.

Phulla (blown)—(cheeks are) raised

Parna (full)—(cheeks are) expanded.

Kampita (trembling)—(cheeks are) throbbing.

Kuiicita (contracted)—(cheeks are) narrrowed down.

Sama (natural) - as (cheeks are) by nature.

Uses of the cheeks

185-187. Cheeks have been described. Now listen about their uses.

Kéama (depressed)—in sorrow.

Phulla (blown)—in joy.

Pfirna (full)—in energy and arrogance.

129-132 (B.182b, 134-186a, G.180b-183). + Instead of 129b, 2, reads one couplet slightly different in content,

(32-134 (B.136b-138, G.134-136a), 135-137 (B.189-14la, G.136b-138),

VIII. 140 } THE GESTURES OF MINOR LIMBS 165

Kampita (trembling)}—in anger and joy.

Kuiicita (contracted)—in horripilation (sensitive) touch, cold, fear and fever.

Sama (natural)—in the remaining conditions. The lower lips 137-139. Gestures of the lips are six in number. (They are): Vivartana (narrowing), Kampana (trembling), Visarga

(spreading out), Vinigihana (concealing), Sandastaka (biting), Samudgaka (contracting).

Vivartana (narrowing)—lips narrowed down.

Kampana (trembling)—throbbing (of lips).

Visarga (spreading out)—to spread out (lips).

Vinigihana (concealing)—drawing in (of lips).

Sandastaka (biting) —(lips) bitten by teeth.

Samudgaka (contracting)—the contraction of lips and keeping them at rest.

Uses of the lower lips .

140-142. These are the gestures of the lips; now listen

about their uses,

Vivartana (narrowing)—in envy, pain, contempt, laughter and the like.

Kampana (trembling) —in pain, cold, fear, anger, swiftness and the like,

Visarga (spreading out)—in women’s amors, affected indiffer- ence and painting of lips.

Vinigiihana (concealing)—in making efforts.

Sandastaka (biting)—in manifestation of anger.

Samudgaka (contracting)—in pity, kissing and greeting.

187-189 (B.141b-148, G.189-14la . 140-142 (B,144-146, G.141b-144a).

166 THE NATYASASTRA | VIII. 148

The chin

143-146. So much about the gestures of the lips; now listen ahout those of the chin; (they are): Kuttana, Khandana, Chinna, Cuksita, Lehita, Sama and Dasta.

Kuttana—when the upper teeth are in conflict with the lower ones. ।

Khandana—when (the two lips) repeatedly come together with each other.

Chinna—when (the two lips) very closely meet cach other,

Cuksita—when (the two lips) are held widely apart,

Lehita—in licking the (lips) with the tongue.

Sama—when (the two lips) slightly parted from each other.

Dasta— when the lower lip is bitten by the teeth.

Uses of the chin

146-149. Kuttana—in fear, cold, attack of old age, and sickness. ;

Khandana—in mutterings prayers (jaya), studying, speaking and eating. _ Chinna—in sickness, fear, cold, (taking) exercise, and angry look.

Cuksita—in yawning.

Lehita=Lehana—in greediness.

Sama—in a natural position.

Dasta—in angry efforts.

80 much about the gestures of the chin in relation to the teeth, the lips and the tongue.

The mouth

149-156. Gestures of the mouth are: Vidhuta, Vinivrtta, Nirbhugna, Bhugna, Viveta and Udvahi. in ee ee eth See 143-146 (B.147-150a, G.144b-147). 146-149 (B.150b-153a, G.147-150a). 149-156 (B.153b-160a, G.150b-157),

-VITI. 159 1 THE GESTURES OF MINOR LIMBS 167

Vidhuta—the obliquely open (mouth). Vinivrtta—spread out (the mouth). Nirbhugna—(the mouth) lowered. Bhugna= Vyabhugna—(the mouth) slightly spread out. Vivrta—the mouth with the lips kept apart. Udvahi—(the mouth) furned up.

‘ses of the mouth

Vinivrtta—in women’s envy, jealousy, anger, contempt and bashfulness and the like.

Vidhuta—sin restraining, saying ‘not so’ and the like. Nirbhugna—in looking into depth and the like.

Bhugna—in being ashamed, discouragement, impatience, anxiety, discipline and consultation. It is natural for the ascetics,

Vivrta—in laughter, sorrow and fear.

Udviihi—in sportiveness and pride of women, in saying ‘go away’, and disregard, in saying ‘so indeed’ and angry words.

156-157. The experts should also use the mouth in conformity with the varieties of Glances such as Sama and Saci and the like mentioned by others.

The colour of the face

157-158. The col.ur of the face according to the circum- stances (lit, meaning) is of four kinds: natural (sealhariba) bright (presanna), reddened (rakta) and dark (Syama).

Uses of the colour of the face. 159-160. Natural face—in a natural and indifferent (mood). Bright faee—in wonder, laughter and love.

Reddened face—in intoxication and in the Heroic the Terrible and the Pathetic Sentiments,

rn Rat - -- ---

156-157 (B.160b-161a, 06.158). 157-158 (B.161b-162a, G.159). 159-160 (B.162b-164, G.160-162a).

14 THE NATYASASTBA [ VIII. 161.

Dark face—in the Terrible and the Odious Sentiments,

161-162. The colour of the face should be thus used to re- present the States and the Sentiments. The acting done with the Gestures of the Sakha?, the Anga and the Upanga is good, but without proper colour of the face it will not be charming (lit) beautiful.

162-163, Even a few Gestures when combined with the proper colour of the face will double their charm (lit. beauty) just as the moon [rising] at night will

163-164. Glances too when combined with thé proper colour of the face will clearly express the different States and the Senti- ments, and on this (i.e. the colour of the face) the Histrionic Representation rests.

164-165. The colour of the face suitable to the represen- tation of the States and the Sentiments, should follow every gestures of the eye (Glance), the eyebrow and the mouth. 80 much about the colour of the face which is the basis of the States and the Sentiments.

The neck

166-167. Ishall now tell you, O Brahmins, about the gestures of the neck. They are of nine kinds: Sama, Nata, Unnata. Tryasra, Recita, Kuiicita, Aitcita, Valita, and Vivrtta.

Description and uses of the neck gestures

167-171. Sama—the natural neck. (Uses) : in meditation, natural pose, and muttering of Mantras

Nuta— (neck with) face bent down. (Uses) in wearing (lit binding) ornaments, putting ones arms round (lit taking) some- body’s neck.

a a A re 161-162 (B.165b-166a, G.162b-168). * See 11 and 15 above. 162-163 (B.166-167a, G-.164). 163-164 (B.167b-168a, 6.165). 164-165 (B.168b-169, G.166-167a). 166-167 (B.170, G.167b-168a). 167-171 (B.171-175, G.168b-178a),

VII. 178] शठ GESTURES OF MINOR LIMBS 169

Unnata~—neck with the face upturned, (Use): in looking up. Tryasra—neck with the face turned sideways. (Use) : in carrying weight on the neck, and sorrow.

Recita—the neck shaken or moved. (Uses): in feeling (hava), churning and dance.

Kuiicita—the neck with the head bent down. (Uses) : in pressure of weight and in protecting the neck.

Ajicita—the neck with the head turned back. (Uses) : in hanging (to death), arranging hair and looking very high up.

Vahita—the neck with the face turned sideways. (Uses) : in looking with thd neck turned round,

Vivrita—neck with the face towards the front. (Use): in (indicating) going towards one’s own place.

172-173- These are the many varieties of the neck gestures according to their {expressing different] customary states of men, Gestures of the neck are all to follow the gestures of the head and the head gestures also are reflected in those of the neck, So much about the deseription of the gestures of the head and the connected minor limbs (¢pazya} and their uses. Now listen about the gestures of the remaining limbs (anye), which T am going to deseribe.

Here ends Chapter शा of Bharata’s Natyasistra, which treats of the Gestures of Minor Limbs,

172-173 (B.176-177, G.178b-175),

22

CHAPTER NINE THE GESTURES OF HANDS Bharata apeaks

1-3. So much about the minor limhs such as head, eyes, eyesbrows, nose, lips and cheecks, and their description that I was to tell you. T shall now-define you for the gestures of hands, breast, sides, belly, waist, thighs and feet and [explain] their proper use’. In this connexion I shall [first of all] explain the gestures of hands and the like, that are used in the production of a play. You are to listen how they are to be applied [in acting],

Sixtyseven gestures of the hand

4-7. Gestures of single hands (usamyuta-hasta)? are twenty- four in number : Patika, Tripatika, Kartarimukha, Ardhacandra, Arala, Sukatunda, Musti, Sikhara, Kapittha, Katakamukha?

१) = ५.१ 9 . J Siicyasya (Siicimukha), Padmakosa, Sarpagirah, Mreagirsa, Kangula

9 | ie) . 31 5 Alapadma (Alapallava), Catura, Bhramara, Hamsasya, Hamsa- paksa, Sandaméa, Mukula, Urnanabha and Tamracuda,

1-8 (B.1, 3, 2, G.1-3). 1 This use relates’ to the two-fold Practice (realistic and coventional) on the stage (86 NN. XIV. 62ff). The realistic Practice (lokadharmi) in this connexion is of two kinds, viz. (1) that reflecting one’s emotion, as in arrogant reference ‘to one’s own- self, this क्ट) hand is to be raised on a level with the forehead (IX. 19), (2) that representing the external form of an object, as the use of the Padmakoéa hand to represent lotus and similar flowers. The conventional Practice (jalyadharmi) 1६ likewise of two kinds, viz. (1) that ereating an ornamental effect, as the use of the four 2aranas of the hand (See NS. IX. 205-211 below), (2) that partially suggesting , a popular behaviour, as the “ise of the tripataki hand to represent words spoken aside ( zanintika ). Seo Ag. ,

4-7 (B.G. seme). 1 Those hands gestures are ordinarily used singly ; but at times two hands showing one of these gestures are used जप्‌ taneously. But still these are called single (asamyuta) hands. For, combined (samyuta) hands are so called beeause they are always. to be shown by both the hands ; see Ag.

? Some mss. read this name as Ahalakimukhe. Our reading is

1X17] THE GESTURES OF HANDS 141

8-10. Gestures of combined hands (sumynta-hasta)* are thirteen in number: कोभ, Kapota, Karkata, Svastika, Kataka- vardhaminaka?, Utsahga, Nisadha, Dola, Puspaputa, Makara, CGajadanta, Avahittha and Vardhamana.

10-17, Dance-hands (npttt-hasta)? are Caturasra?, Udvrtta Talamukha, Svastika, Viprakirpa, Ardlakatakémukha, Aviddha- vaktra, Sticyasya, Recita, Ardharecita, Uttanavaticita, Pallava, Nitamba, Kegabandha, ata, Karihasta, Paksavaiieitaka, Paksa- pradyotaka, Garudapaksa, Dandapaksa, Urdhvamandali, Parsva- mandali, Uromandali Urah-parévardhamandali, Mustikasyastika, Nalinipadmakoga, Alapallava, Ulbana, Lalita and Valita.

These are the sixtyfour® gestures of hands. Gestures of single hands

17-26. Now listen about their definition and uses.

Pataka (flag)—the fingers extended and close against one another, and the thumb bent.

supported by the AD. (See ed. M. Ghosh, verse 124, A. K. Coomaraswamy MG. p. 50).

8-10 (B.G. same). 1 See note | to 4-7 above.

9 Some mes. read this name as RAalaka® ; katakavardhana, is the name of a samyuta-hasta in the AD. (ed. M. Ghosh, 187 and A. K. Coomaraswamy, MG. p. 60).

10-17 (8.७. 10b-17a). +} These gesturcs (danee hands, rttahasta) as their name implies, are ordinarily to be used in dance ; but in course of acting too they are often to be used along with other gestures (single and combined) to create an ornamental effect (See note 1 to I-3 above). See Ag.

2 In the Skt. text these names are given in dual number 4g. our caturasra stands as caturasrau. The reason for this isto be sought in the fact that unlike the single and combined hands which must represent one single idea or object, the hands in the dance-hand gestures are to be individually moved, not for representing any idea or object but for creating an ornamental effect in acting as well as in dance. Seo Ag.

3 In actual enumeration hand gestures are sixtyseven in number

(single 24, combined 18 and Dance-hands 30). Catwhsasthi in the text should be emended to sapfasastht. » 17-26 (B.18-25, 26a, G.18-25. 26a).

172 THE NATYASASTRA [ IX. 26.

(Uses) : To represent ‘an administration of blows, scorching heat, urging, attainment of happiness and arrogant reference of one’s ownself? this hand is to be raised on a level with the forehead. To represent the glare of heat, torrential rain and shower of flowers two Patika hands withthe fingers separated and moving, are to be joined together. A shallow pool of water, present of flowers, grass and any design [lit. object] made on the ground are to be represented by two such hands separated from the Svastika position. The same Pataka hands with their fingers pointing downwards are to be used to represent anything closed, made open, _ protected, covered, dense or private (concealable), This very hand with its fingers pointing downwards and moving up atid down, is to express the speedy movement of wind and [ocean] waves, [ocean waves] breaking against the shore, and flood. The Recaka of this hand should be used to represent encouragement, many [in number}, a great crowd of men, height, beating of drums, and flight of birds upwards. And anything washed, pressed, cleansed,

pounded, or holding up a hill or uprooting it, should be represented by the palms of two such hands rubbing each other. ‘This is also the manner of representing man and woman?.

26-32, Tripataka (flag with three fingers)—the third finger of the Patakahand to be bent.

(Uses) : It is to be used in representing invocation, descent, bidding goodbye, prohibition, entrance, raising up [anything]f, bowing [in salutation], comparing”, suggesting alternatives, touching {the head with] auspicious objects or putting them on the head, putting on a turban or crown and covering the mouth or the ears. This very hand with its fingers pointing downwards and moving up and down is to be used in representing flight of small birds, Stream, snake, bees and the like. And with the third finger of the

+ [1 saying ‘I too,’ ‘of me too’, ‘by me too’, in me too’ and the like (Ag).

2 Ag. gives detailed rules about the use of the pada hand in all the cages mentioned above,

26-32 (B.G. 26b-32) | Ag. thinks that this relates to objects like one’s chin. 9

= कक upaminopameyabhavam (Ag.)»

AIX. 39 THE GESTURES OF HANDS 173

Tripataka should be represented wiping off tears, drawing a Tilaka or Patralekha® and touching of hairs

33-38. ‘Two Tripatékat hands held like a Svastika repre- sents adoration of the feet of venerable persons (giv). Two such hands are to meet each other’s cnd for representing marriage. Separated and moved from this position they indicate a king. When obliquely forming a Svastika they represent planets. ‘To indicate an ascetic they are to be raised with palm = turned back- wards. ‘lo represent a door they are to face each other, Submarine fire, battle and Sea monsters are to be indicated by two Tripataka hands, first raised near one’s face and then moved with the fingers pointing downwards. ith these very hands should be indicated jumping of monkeys, waves, wind and women. ‘To show the cresent moon this hand should put forward its thumb, and to indicate a king’s march [against his enemy] this hand should turn itself towards the back.

39-4. Kartarimukha (sissors’ blades)—the forefinger of the Tripataka hand to bend backwards.

(Uses): This {hand with its fingers] pvinting downwards will represent showing the way, decoruting the feet* or dying them’, and the crawling [of babies]®. With fingers pointing upwards it will represent biting, horn and letters. And when the fingers in it are turned differently (९ the middle finger is bent backwards) it will represent falling down, death, transgression*, reversion, cogita- tion and putting [anything] in trust®.

3 rocanalabhanakam-touching (the body) with go-rocana or drawing ornamental designs (patralekha) on the body with this substance. Gorocanaé 18 & bright yellow pigment prepared from the urine or bile of a COW.

33-38 (B.G. 33-38). |} This portion docs not occur in all mss. and may well have been a later addition.

3 Paronts, grand-parents and the spiritual guide ete. are meant by this term,

39~41 (B.G. 39-41). | racanam kasturtka dinapatrabhangadtkriva (Ag.). * ranjanam alaktakena (Ag.).

* Read ringana for raingana in B.

५ vyatikramah—aparidhah (Ax.). 5 nyasta-niksepana.

174 THE NATYASASTRA - TIX, 42-

42. And with the two such (samyuta) “hands or one such (asamyutt) hand should be represented antelope, yak, buffalo, celestial elephant (wire-vata), bull, gate (yopura) and hill-top.

43-45. Ardhacandra (crescent moon)—the fingers and the thumb so bent as to make a curve like ४ bow.

(Uses): With this should he represented young trees, crescent moon, conchshell, jar (पतत) bracelet, forcible opening, exertion, thinness and drinking?. With this [very] Ardhacandra hand women should represent girdle, hip, waist, face, ‘Talapatra® and earring,

= 46-52, Arala (bent)—the forefinger curved like a bow, the thumb also curved and the remaining fingers separated and turned upwards,

(Uses): With this should be represented courage, pride, prowess, beauty, contentment, heavenly [objects], poise, act of blessing and other favourable states. And this, again, will re- present woman’s gathering of hairs or scattering them and looking carefully over their entire body, The preliminaries to the marriage by bride’s going round the bridegroom? and [marital] union? are to be represented by two Arala hands moving around each other and their fingers meeting in the form of a Svastika. And with similar hands should be represented circumambulation, round objects. great crowd of men, objects arranged on the ground®. In calling any one, asking any one not to come in, uprooting anything,

4 (BG. 42).

43-45 (॥ (च, 3-45), ` ayastam khedam \Ag.).

* pinam tor pam (BG),

५ Mss. read ¢élapatra (tédapatva) meaning a kind of car-ornament (tadanka or tutanka). Mt is different Reudada trom which is also an ear-ornament.

46-52 (B.46-52, (1 4671; 53), | Rautukam—vivahit = prurvabhavi vadhiwaravor acirah antarvivihah (Ag.).

* vivihalh—agnau siksind pantgrahanam (Ag.).

४ Objects such as सद्दे and flowers arranged on the ground. Wor Alpana sev Lalpana by Audre at Suzanne Karpelles, Paris, 1930 (?)

9 (ध, reads after this a couplet defining the Avala hand.

TK. 614 THE GESTURES OF HANDS 145

saying too many things, wiping off sweat and enjoying swect smell, abuse, censure the Tripatéka hands have been prescribed before hy me, but women are to use the Arala hand to represent these.

58-54. Sukatunda (parrot’s beak)~ the ring-finger «(third finger) of the Arala hand is bent.

(Uses) with this should be represented words such as ‘(It is) not I’, (It is) not you, (It is) not to be done, invocation, farewell, and saying ‘Fie (upon yon)’ in contempt.

55-56. Musti (fist:—fingers have their ends [hent] into the palm and the thumb [is set] upon them.

(Uses) : T2 is used to represent beating, exercise?, exit, press- ing?, shampooing’, grasping sword and holding clubs and spears.

57-58. Sikhara (peak)—in this very hand (wirséi) the thumh raised.

(Uses): It is used to represent reins, whip. goad, bow, throwing a javelin (femera) ova spike (gall), painting the two lips and feet and raising up hairs.

59-60. Kapittha (clephant-apple)—the forefinger of the Sikhara hand to be bent and pressed by the thumb,

(Uses) : It is to represent weapons suchas sword, bow, discus, javelin (fomara), spear (५१14), nface, spike (६1) thunderbolt and arrows, trne and wholesome deeds.

61-64. Katakimukha—the ring-finger and the little finger of this Kapittha hand to be raised and bent.

(Uses) : Tt is used 10 represent sacrifice, oblation?, umbrella, drawing up reins, fan. holding a inirror, drawing

13-64 (B.53-54, G.54-55)

55-56 (B.55-56, G.86- 7). | [दकव according to Ag. yuddha (ight or duel)

? ‘Pressing’ of the teats of cows and buffaloes while milking’them stanapilane—mahisyadidohane (Ag) । 3 Samachana according to Ag. means wrtpidana,

57-58 (B.57-58, G.58-59), - 59-60 (B.59-60, 6.60-61).

61-64 (p.41, B.60-63,. G.53-65). 1 Aotram—srugid:-uttanena, Ag.

५ havyam—ajyadyamukhena (Ay.).

means

176 THE NATYASASTRA [ VII. 65-

[patterns]*, powdering, taking up big sticks, arranging a pearl neck- lace, taking up garlands, gathering the ends of clothes, churning, drawing out arrows, plucking flowers, wielding a goad, drawing out a goad, string and looking at a woman.

65-71. Siicimukha—the fore finger of the Katakamukha hand to he streched.

(Uses): I shall tell you bricfly of its various uses as the forefinger [in it] is raised and bent, moving sideways, shaking, moving up and down, and moving up without any rest. By moving the forefinger upwards [in this hand] are to be represented discus, lightning, banners, blossoms, earring, zigzag movement, a cry of approbation?, young serpent, young sprout®, incense, lamp, creepers*, Sikhanda®, falling down, curve and round- ness and with the forefinger raised this: [hand] again should he used in [representing] stars, nose, [the number] one, club and stick, And (this hand with the forefinger] bent should meet the mouth to represent a being with teeth, and by the circular movement of this hand one should represent the taking away (a man’s] every thing. And the forefinger in this hand should be alter- nately raised and lowered to represent long study and long day. And the same should be curved, moved up and down near the face to represent a sentence. And to indicate ‘no’ or ‘speak’ the fore- finger should be stretched, shaken and moved up.

72-75. This hand should be shaken to represent anger, perspiration, hair, car-ring, armlet and decoration of the cheeks.

® khandanam—drawing decorative patterns or designs on anything. Ag’s explanation of this seems to be wrong. Cf. alaka-trlaki patravalin khandante (draws the alaki-tilaki and patravali) in the Kirtilata of Vidyapati. See ed. Haraprasid Sastri, Caleutta, Bs. 15981 (1.24) pp. 13-14, and the root AAG] (to draw) in E. Bengal dialeet of Tippera.

65-71 (B.64-7 la, G.66-72). | karnachlrki—karnapira (Ag.).

2 Saying ‘welldone’, ‘how beautiful’ ४८ = ५ padlava but B. balyana.

“The text uses two words 2040 and dati meaning ‘erceper’, Ag. distinguishes betweon the two as follows : a/avii-prabhrtayo vallyal au draksiprabhrtayo lath ।

5 0114-6 00107111 kikapaksah (^ ५.)

72-75 (B.71b-752, G.73-76).

-IX. 82 | THE GESTURES OF HANDS 177

And to represent pride, ‘I am,’ enemy, ‘Who is this’, and scratching of the ear it should be held near the forehead. (And two Siicimukha hands] should be united to represent the union [of men], and be separated 10 indicate separation, and to represent a quarrel the two hands should be crossed, and to show bondage they are to press cach other. The two Siicimukha | hands] facing each other and held separately on the left side will represent the close of the day, and held on the right side they will indicate the close of the night.

76. This hand moved in the front will indicate [any] form, stone, whirlpool, mechanical contrivance and a hill, and to represent the serving up of meals the same movement of the hand pointing downwards is required.

77. To represent Siva this hand pointing downwards is to be held close to the forehead and to indicate Indra. this hand is to be raised [to the forehead] and held across it

78. By two such hands the orb of the full moon is to be represented, and to indicate the rising of Indra (ie. raising his banner) it should be held close to the forehead.

79. [This hand] moved all around will represent the orb of the moon, and to indicate Siva’s [third] cye, it should be held on the forehead and [in case of] Indra’s [eyes it should be] raised obliquely.

80. Padmakoga (lotus-bud)—the fingers including the thumb to be separated and their ends to bend, but not to meet one another,

81. (Uses): To represent Bilva and Kapittha (clephant- apple) fruits and the breasts of women [this hand is to be used}. But to represent accepting [these fruits] or flesh, this hand should be slightly bent at its end.

82. [This hand] should be held [to represent] offering

76 (B.77b-78a, 06.773. 77 (B.78b-79a, 6.78). 78 (B-75b-76a, 6.79).

79 (B.76b-77a, Q.80). ~ 80 (B.79b-80a, G.81), 81 (B.80b-8la, 6.82). 1 7. adds one hemistich after this,

82 (B,82, G.83), न 23

178 THE NATYASASTRA [ IX. 88.

Piija to a deity, cartying tribute, casket, offering the first funeral ९१४९१, and a number of flowers, are also to be indicated by the ~ Padmakoga hand

83. The two such hands with moving fingers meeting at the wrist and turning backwards will represent the full-blown lotus and water-lilly,

84, Sarpasirah (snake-head)—the fingers including the thumb t+ be close to one another and the palm to be hollowed.

85, (Uses): Tt is used to represent the offering of water, movement of serpents, pouring water [on anything], challenging [for a duel], motion of the clephant’s frontal globes (मत) and the like, :

86. Mrgagirsa (deer-head)—the Sarpagirah® hand with all its fingers pointing downwards, but the thumb कत्‌ the little finger raised up.

87, (Uses): It is moved to represent here, now, “Tt is”, to-day, possible, splendour (wlasana), throw of dice, wiping off perspiration and pretended anger.

88. Kaigula—The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised.

89. (Uses): By this are to be represented immature fruits of various kinds and angry words of women.

90. Alapallava (Alapadmaka)—all fingers turned towards the palm, standing on its side and separated from one another,

91., (Uses): It is to be used for indicating prevention, words like “Who are you,” “It is not”, “nonsense” and a woman’s allusion to herself.

1 agrapinia-dina—niandimukhasriddha (Ag.)

88 (B.83, 6.84). 84 (7.84, 0.85). 85 (?.8;, G.86),

86 (B 86, 0.87). 87 (B.87, G.88).

88 (B.88, G.89). | ¢rertignisamsthitah=viralah (Ag.).

89 (B.89, G.90), } B. reads one additional couplas-(B.90) after this, 96 (B.9], G.91). 91 (B.92, G.92),

IX. 108 ] THE GESTURES OF HANDS 179

92. Catura—the four fingers stretched ‘and the thumb bent near the middle finger. :

93. (Uses): It is to be applied in representing policy,

discipline, penance, cleverness, a young girl, a sick person, spirit, _.

deceit, proper words, welfare, truth and tranquility. 94. By one or two such hands moved round should be represented openness, deliberation, moving, conjecture and shame, 95. By the combined Catura hands are to be represented lotus-petals compared with eyes, and ears of deer.

96-98. Besides these, the Catura hand is to indicate sports, love, _ brilliance, memory, intelligence, judgement, forgivencss, nutrition, consciousness, hope, affection, reasoning, union, purity, cleverness, favourablencss, softness, happiness, character, question, livelihood, propriety, dress, soft grass, a small quantity, wealth, defeat, sexual intercourse, merit and demerit, youth, home, wife and various colours.

99. [To represent] white it (the Catura hand) should be held up ; red and yellow are indicated by moving it round, and blue by pressing [one such hand with another].

100. Bhramara (bee)—the middle finger and the thumb crossing each other, the forefinger bent, the remaining two fingers separated and raised.

101. (Uses) : It is used to indicate the plucking of flowers with long stems such as lotus and water-lily, and ear-ring,

102. It should fall down with a sound to represent rebuke, pride of power, quickness, beating time and producing confidence.

108. Hamsisya (swan-mouth)—the forefinger, middle finger and the thumb close? to one another and the remaining fingers stretched.

92 (B.93, G.93). 93 (B.94, G.94). 94 (B.95, 6.95).

95 (B.96, G.96), ,” 96-98 (B.97-99, G.97-99), 99 (B.100, G.100). * 100 (B.101, G.101). 101 (B.102, 69.109). 102 (B.103, G.103).

103 (B.104, G.104). 1 trantava ttt vtralatvam nisedhati (Ag.).

+

18) THE NATYASASTRA [ IX. 104.

104. (Uses) : It with the slightly throbbing end is used to : indicate specially, fine, small, loose, lightness, exit, and softness,

105. Hamsapaksa (swan-wings)—the three fingers stretched, the little finger raised and the thumb bent.

106-108. (Uses) : It is used to indicate pouring libation of water, and it should be held near the cheek to represent acceptance of a gift, Acamana and taking meals by Brahmins, embrace, excessive stupor, horripilation, touch, unguent and gentle massage, It may again be used to indicate according to the [prevailing] Sentiment, amorous action of women relating to the region between their breasts, their sorrow and touching of their chin,

109, Sandaméa (pincers)—the forefinger and the thumb of the Arala hand crossed and the palm a little hollowed,

110. The Sandamsa (hand) according to the Sentiments and States, is of three kinds, viz, that [held] in front, that near the mouth and that on one side.

111-115. (Uses) : In representing the plucking of flowers, making garlands of them, taking up grass, leaves, hairs or thread and holding or pulling out an arrow or thorn the Sandaméa should be held in one’s front. And to represent taking off a flower from

"its stem, the wick [of a lamp], [collyrium] stick, filling up [any vessel with any thing}, in saying ‘fie [upon you’), and anger, this should be held near the mouth. To represent the sacred thread, piercing a hole [in pearls and similar sbjects], bow-string, fineness, arrow, and objects aimed at, yoga, meditation and small quantity [two] such hands should be combined. This shown by the left hand held on one side and slightly turning its tipis used to re- present softness, aluse and envy. It is used also to indicate pain- ting, colouring one’s eyes, deliberation, ster, drawing Patralekha and squeezing of lac-dye by women.

116. Mukula (bud)—the fingers bent and close to one another and their tips meeting together in the Hamsisya hand. pe 104 (B.105, 68.105}. 105 (B.106, 6.06). 106-108 (B.107-109, 6.11). 109 (B.110, 6.11). N0(B111, 6111). 11-15 (1191140). _ 116 Bt, 6.17).

Scare

-IX. 126 ] THE GESTURES OF HANDS 181

117-118. (Uses): It is used to represent the making of ` offerings in worshipping a deity, bud of a lotus or a water-lily, throwing a kiss (vita-cumbana), contempt, iniscellanedtis things, taking meals, counting of gold coins, narrowing of the mouth, giving away [anything], quickness and buds of flowers,

119-120. Urnanabha (spider)—the fingers of the Padmkoga hand [further] bent.

(Uses): It is uscd to represent the combing of hair, receiving stolen goods, scratching one’s head, skin disease, lions, tigers and such other unimals, and taking up (touch]—stone.

121-122., Tamracuda (lit. copper-crest i.e. cock)—the middle finger and the thumb crossed, the fore-finger bent, the remaining [two fingers] at the palm.

(Uses) : It should fall down with a sound to represent rebuke, beating time, inspiring confidence, quickness, and making signs.

123. This hand is to be used to indicate small fractions of time such as Kala, Kastha, Nimesa and Ksana as well as_ talking to a young girl and inviting her.

124. When the fingers in a hand are close to one another, bent and the thumb is set on them, the same is [also] called the | Tamracuda hand.

125. By this hand are to be indicated hundred, thousand and lac of gold coins, and when the fingers in it are suddenly made to move freely it will represent sparks or drops.

126. 0 the best of Brahmins, these are the single hands described by me. Now hear about the combined hands which I am going to describe.

117-118 (B.118-112, G.118-119). + vstacumbanam svabhiprayam aot- skartum suahastam eva mukulitam vitaS cumbantits vitacumbanam (Ag.).

119-120 (.120-121, G.120-121). 1 Cf. Ag’s explanation of caurya- &raha. a

; ; 121-123 (B. 122-124, 192-123). 128 (8.124, G-124), 124 (B.125. 125). ` , 125 (1.126, G.126). - 126 (B.127, G.127).

ee

189 THE NATYASASTRA (IX. 197- `

127. Aiijali—Putting together of the two Pataka hands is called Aijali.

(Uses) : It is used to greet gods, vencrable persons (guru) and friend?,

128. In greeting gods it is to be held on the head, in case of venerable persons it is to be held near one’s face, and for greeting the friends it is to be placcd on the breast, and in case of the remaining persons there is no fixed rule.

129. Kapota (pigeon)—The two (Aiijali) hands meeting on one of their sides will make the Kapota hand. Listen about its uses. 3

180. (Uses) : It is to be used to indicate an approach with inimical attitude, bowing and talking to a venerable person. To indicate cold and fear, women are to hold this hand on their breasts.

181. “The hands [showing the Kapota gesture] released after the meeting of fingers will indicate anxious words, or ‘This much can be done’ or ‘Nothing more can be done.’

132, Karkata (crab)—When the fingers of the hands are interlocked the Karkata hand is produced.

133. (Uses) : It is used to indicate the bees-wax,’ massaging of the limbs, yawning just after awakening from sleep, a big body, supporting the chin and holding a conch-shell [for blowing it].

` 184. Svastika—The two Arala hands upturned and held together at the wrists will form the Svastika. It is to be used by women.

135. (Uses): When the hands are separated from the ‘Svastika position, it will indicate directions, clouds, the sky, forests, seas, seasons, the earth and similar [other] extensive things.

127 (B.128, G.128).

128 (B.129b-30a, G.129), 1B. adds one additional hemistich after this, 129 (B.130b-131a,G@.130), ="

130 (B.131b-182a, G.131). 181 (B,132b-132a, G.132). 182 (B.133b-184a, G.133). 133 (B.184b-135a, 68.184). 184 (B,185b-136a, G.135), 185 (B,186b-137a, G.136).

-IX, 144 ] THE GESTURES OF HANDS 183

136. Katakavardhamanaka—When one Kataka (mukha) hand is placed on [the wrist of] another Kataka [mukha] hand the Katakavardhamanaka hand will be produced,

(Uses): It is to be used in movements connected with love-making and in bowing [to a person].

137. Utsatiga—When the Arala hands are contrarily placed and are held upturned and bent, the Utsanga hand will be the result.

(Uses) : It is used to indicate the fecling of touch.

138. Itis also used to indicate anything to be done with great effort, acts, of anger and indignation, squeezing [anything] and women’s acts of jealousy.

` 139-140. Nisadha—The left hand holding the [right] arm above the elbow and the right hand similarly touching the left arm with «a clenched fist will make a Nisadha hand.?

141. (Uses): It is to indicate patience, intoxication, pride, elegance, eagerness, valour, arrogance self-conceit, haughtiness motionlessness, steadiness and the like.

142. Dola—When the two shoulders ure at case in a Karana and the two Pataka hands are hanging down the Dola hand is produced.

143. (Uses) : It is to be used in indicating hurry, sadness, fainting, fit of intoxication, excitement, state of illness and wound by a weapon.

144. Puspaputa—The two Sarpasirah hands with their fingers close to one another meeting on one side very closely will vive rise to the Puspaputa hand.

“s

136 (B.137b-138a, G.137). 137 (B.139, G.138). 138 (B 140, G.139).

139-140) (ए l44-145). 1 G. omits this passage and [तत्‌+ and read them differently, but in the foothote to lines [1-16 the definition occurs, and the uses too. TB. also gives an additional definition and uses of the Nisadha in 2.14} 143,

141 (.146). ' See note 1 to 139-140.

142 (B.148, 68.142). ˆ = ` 143 (13.14), 06.148).

144 (B.150, G.144),. * - "145 (B.151, 06.145).

184 THE NATYASASTRA [ 1X. 145 `

145. (Uses) : It is to be used to indicate the receiving or carrying of rice, fruits, flowers and foods of various kinds and the carrying and removing of water.

146. Makara—~When the two Patika hands with their thumbs raised are turned down and, placed on each other the Makara hand is produced.

147. (Uses): Itis used to indicate lion, tiger, clephant, crocodile, shark (mahara) and fish and other carnivorous animals.

148 Gajadanti—The two Sarpasirah hands,‘touching the Opposite arms between the shoulder and the elbow will give rise to the Gajadanta hand.

149. (Uses) : It is to be used to indicate the carrying of the bridegroom and the bride, excessive weight, clasping a pillar and uprooting a hillor a block of stone,

150. Avahittha—When the tivo Sukatund. hands meat each other on the breast and are bent and then slowly lowered, the Avahittha hands will be the result.

151, (Uses) ; It is to be used in indicating weakness, sigh, showing one’s body, thinness [of the body] and longing {for a be loved person),

152. Vardhamana—When the Mukula hand is clasped by the Kapittha the result will be the Vardhamana hand,

153, (Uses) : By pressing one hand with the other it is used to indicate grasping, receiving, preserving, convention (or doctrine) truthfulness and abridgement.

154. Or the two Hamsapaksa hands turned down will be the known as the Vardhamana. (Uses) : It is to be used to represent the opening of objects like latticed windows,

155. The two kinds of hands (single and combined)

146 (.152, 68.146). 147 (B.153, &.147). 148 (B.154, G.148), 149 (B.155, 0.149), 150 (B.156, G.150), 151 (72.157, G.151).

152-153. 1 Ms. ©. of ©, and da of B, read the passages as we do but ए, and G. reject this and read them differently, 154 (B 158, G.159). _ 185 (B.160, G.158),

we

६ “EX. 166 ] THE GESTURES OF HANDS 186

described briefly may be used elsewhere also in conformity with the rules laid down here.

General rules regarding the use of hand gestures

156. In acting, hand [gestures] should be selected for their form, movement, significance, and class according to the personal judgement [of the actor}.

157. There is no gesture (lit. hand)-that cannot be used in indicating [some] idea. I have profusely described whatever forms (lit. gestures) are usually seen [to be associated with different ideas}.

158. There are besides other popular gestures (lit. hand) connected with other ideas, and they also are to be freely used along with the movements inspired by the Sentiments and the States.

159. These gestures should be used by males as well as females with proper regard to place, occasion, the play undertaken and a suitability of their meaning,

Different movements of hand gestures

160. Ishall now describe the varied movements which these gestures (lit. hands) [should] have in connexion with the. {different] Sentiments and States.

161-163. [These movements are] : drawing upwards, dragg- ing, drawing out, accepting, killing, beckoning, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating.

164. Hand gestures according to the theory of Histrionic Representation are to have three kinds of general movements, viz. upwards, sideways and downwards,

165. These movements of hands should at the time of their use, be embellishad by means of [suitable] expressions in the eyes, the eyebrows and the face.

156 (B.161, G.154). 157 (B.162, 8.6.155).

158 (B.168, G.156). 159 (B.164, G.157).

160 (B.165, G.158), 161-163 (B.166-168, G.159 161). 164 (B.169, G.173). . 165 (B.170, G.162),

24

` 186 THE NATYASASTRA “f 1K; 166.

Spheres of hand gestures

166. The experts are to use the hand gestures according to the popular practice and, [in this matter] they should have an eye to their movement, object, sphere, quantity, appropriateness and mode.

167. Hand gestures of persons of the superior type should move near their forehead, that of the middling type of fersons at about their breasts while the inferior persons [should move their hand gestures in regions] below this.

The quantity of gestures

168. In the superior acting, hand gestures should have scanty movement, in the middling acting medium sort of movement, while the ordinary acting should have profuse movements of hand gestures.

169. {10 indicate different objects and ideas the hand gestures of persons of the superior and the middling types [in such cases] should conform the definitions given [in the Sastra] while gestures of the persons of inferior type should follow the popular practice and their [own] natural habit.

170. But when [specially] different occasions or times present themselves, wise people should make different uses of the hand gestures,

171-174. While a person is to represent himself as sad, fainting, terrified, overcome with disgust or sorrow, weak, asleep, handless, inactive, drowsy, inert, sick, attacked with fever, seized with panic, attacked with cold, intoxicated, bewildered, mad, thoughtful, practising austerities, residing in a cold region, prisoner under arrest, running very swiftly, speaking in dream, suddenly moving away and cutting nails he is not to use hand gestures, but he should resort to the Represe:.tation of the ‘Temperament as well as to the change of voice suitable to the different States and Sentiments. ।

166 (B.171, G.163). 167 (B 172, G.164). 168 (B.178, G.165). 169 (B.174, G.166). 170 (B.175, G.167). 171-174 (B.176-179, G.168-171).

1X. 188 ] THE GESTURES OF HANDS 187

175. At the time of verbal acting (i.e. when thé actor will enunciate his part) the eyes and the look are to be directed to points at which the hand gestures are moving, and there should be proper stops so that the meaning may be [clearly] expressed (lit. seen).

176. The movements of hands in dancing and acting will be of five kinds, viz. palms kept upwards, downwards or oblique, fingers pointing upwards or downwards. ‘

177, These are the hand gestures connected with the various kinds of Histrionic Representations. I shall now speak of Dance- hands (i e. gestures to be used in dance).

The Dance-hands

178. Caturasra—two Katakadmukha hands held forward eight Aagulis apart [from each other] on one’s breast, the two shoulders and elbows on the same level.

179. Udvrtta—the two Hamsapaksa hands waved like a palm-leaf (fan). Its alternative name is the Talavrnta (palm-leaf),

180. Talamukha—the two hands from the Caturasra position to be held obliquely facing each other.

181. Svastika—the Talamukha hands crossed 8 the wrists ; but released after this they are called Viprakirna.

182. Aralakatakamukha—the two Alapallava (Alapad- maka) hands with palms upwards changed into Padmakoga hands. Its another name is Aralakataka.

188. Aviddhavaktraka—The two hands are to have a graceful (षाठ) movement after touching [successively] the oppo- site shoulder, elbow and hands, and the palms [of the hands] moved are to turn towards the back.

175 (B.180, G.172). 1 ए. repeats here 164 (B.169)

176 (B.182, G.175). 177 (B.183, G.176).

178 (B 184, G.177). 179 (B.185, G.178).

180 (B.186, G.179). 181 (B.187, G.180).

182 (B.188, 6.181), 'B.G. read after this a variant of this definition. , ., 189 (B.190, 6.188).

188 TAH NATYASASTRA [ 1X. 184- -:

184. Siicimukha—The two Sarpasireh hands with their thumbs touching middle fingers are to stretch their tips obliquely. ` `

185. Recita - the two Hamsapakga hands swiftly moving with the palms facing upward ‘This is like the ordinary Recita [of the hands]. a

186. Ardharecita—The left hand should be as in the Caturasra and the right hand as in the Recita. ५

187, Uttdnavaiicita—The two Tripataka hands are slightly bent obliquely and the shoulders and thefelbows are moved.

188. Pallava—the two Pataka hand joined at the wrist.

Nitamba—the two Pataka hands taken out from the shoulder [to the hip].

189. KeSabandha—the two hands moved out from the hair-knot (कतात्‌) and held on the sides,

190. Lata—the two hands to be obliquely stretched sideways.

191. Karihasta—the Lata hand held up and swung from side to side and the Tripataka hand held on the ear.

192. Paksavaiicitaka—one Tripataka hand placed on the waist and another on the head.

193. Paksapradyotaka—the Paksavaiicitaka hands chang- ing places (ir. the hands placed on the waist to be put on the head and vice versa),

194. Dandapaksa—the two Hamsapaksa hands moved alternately and then held out like a staff,

195. Ordhvamandali—the two hands to have circling movement near the upper region (1.९. the upper part of the body).

184 (B.191, @.184). 1 BG. read after this a variant of this definition,

185 (B.193, 6.186). 186 (B.194, G.187), 187 (B.195, 6.188). 188 (B.196, G.189), 189 (B.197, G.190), 190 (B.198, G.191), 191 (B.199, 6.192). 192 (B.200, G.193),

198 (B.201, G.194), 194 (B.202;G.195); 195 (B.203, 68.196)..."

IX, 2061 GESTURES OF HANDS 189

Parévamandali—the same movement made on one side. 196. Uromandali—after circling movements one hand to _ be raised up and the other to hang down, and moyements to take place near the breast. ;

197.. Urahparsvardhamandala—the Alapallava (Alapad- maka) and Arala hands moved by turns above the breast and on the sides.

198. Mustikasvastika—the two Katakamukha hands bent at the wrists and moved round.

199. Nalinipadmakosa the hands to be moved by turns with Vyavartita and Parivartita Karana.

200. Allapallava—the two hand to have the Udvestita Karana in their movements.

Ulbana—the two hands to be stretched up and waved.

201. Lalita—two [Ala]-pallava (Alapadmaka) hands to be moved above the head.

Valita—the two Lata hands crossed at their elbows.

202. The Dance-hands are to be used in forming Karanas and hands such as the Pataka should be used in representing the meaning [of words],

203. [But] sometimes, out of necessity their uses are inter- changed, and the names given are due to their predominant use in drama and dance. |

204. The Dance-hands are of two kinds: single and com- bined. I shall now speak of hands in relation to the Karanas.*

The four Karanas of the hand

205-206. Instructors of hand gestures are to note carefully the four classes into which all such gestures are grouped. The four classes are: Avestita, Udvestita, Vyavarita and Parivartita.

196 (B.204,G.197). 197 (B.205,G.198). 198 (B.206, G.199).

199 (B.207, G.200). 200 (B.208, G.201). 201 (B.209, G.202).

202 (B.210). * G. omits this. 203 (B.211). " G. omits this.

204 (B.212, 6.208). ' This Karana is evidently differently from the ए mentoned in NS. IV. 62ff. 205-206 (B.213-214, G.204-205).

190 THE. NATYASASTRA [ XI. 207-

207. Avestita: When the fingers beginning with the first one (the forefinger) are gradually pointing inwards at the time [the hand] moves round, the Karana [thus produced] is called Avestita.

208. Udvestita: When the fingers beginning with the first one [forefingers] are gradually pointing outwards at the time [the hand] moves round, the Karana thus produced is called Udvestita. 209. Vyavartita: When fingers beginning with the last one (the little finger) are gradually pointing inwards at the time [the hand] moves round the Karana thus produced is called Vyavartita. .

210 Parivartita : When the fingers beginning with the last one (tho little finger) are gradually pointing outwards at the time [the hand] moves round, the Karana thus produced, is called

Parivartita,

211. Hand gestures in their [various] movements when applied in drama and dance should be followed by Karanas having (appropriate expression of] the face, the eyebrows and the eyes.

The movements of arms

212-213. Persons dealing in drama and dance have pres- cribed ten [movements] of arms : Tiryak, Urdhvagata, Adhomukha, Aviddha, Apaviddha, Mandala, Svastika, Aiicita, Kuiicita and Prsthaga.

214. O Brahmins, I have now finished the brief description of rules regarding the Karanas and shall speak afterwards about the movements of the breast, the belly and the sides.

Here ends Chapter IX of Bharata’s Natyasastra which treats of the Gestures of Hands.

207 (B.215, G.206). 208 (B.216, G.207). 209 (B.217, G.208), 210 (B.218, G.209). 211 (B.219, G.210). 212 (B.220, G.211).

213 (B.221, G.212). 214 (B.222, G.213).

CHAPTER TEN THE GESTURES OF OTHER LIMBS The breast

1. The breast is known to be of five kinds: Abhugna

(slightly bent), Nirbhugna (unbent), Prakampita (shaking), Udvahita (raised) and Sama (natural).

2. Abhugna (slightly bent)—(the breast) lowered, back high, shoulders slightly bent and at times loose (not stiff).

3. (Uses) ; in hurry, despair, fainting, sorrow, fear, sickness; broken heart, touching of cold objects, rains and being ashamed of some act.

4. Nirbhugna (unbent)—(the breast) stiff, back depressed, shoulders not bent and raised.

5. (Uses) : in paralysis, having resentment, look of surprise, assertion of truth, mentioning oneself haughtily, and excess of pride.

6. Prakampita (shaken)—the breast incessantly heaved up {and down].

7. (Uses) : in laughter, weeping, weariness, panic, [fit of] asthma, hiccough, and misery.

8. Udvahita (raised)—the breast raised up.

(Uses) : in (representing) deep breathing, viewing some lofty [object], and yawning.

` 0. Sama (natural)—All the limbs being in the Caturasra -and with Sausthuva the breast will be called Sama (natural),

1 (B.1X.223, 6.1). 2 (B.1X.224, G.2). 8 (B.1X.225, G.3). 4 (B.JX.226, G.4). 5 (B.1X.227, G.5). | B.G. read after this an additionaf couplet: 6 (B.IX.229, 6.7). । 7 (B.IX.280, 6.8).

8 (B.IX.281, G.9). 9 (7.3.232, G.10),

192 THH NATYASASTRA [ X. 10.

The sides ,

10. I have properly described the variety of the breast movements. And I shall now define here the two sides,

11. The sides are of five kinds, viz., Nata (bent), Samunnata (raised), Prasdrita (extended), Virvartita (turned round) and Apasrta (drawn away).

12-15, Nata (bent)—the waist slightly bent, one side slightly bent, one shoulder drawn away slightly.

Unnata (raised)—The other side [on the assumption of the Nata position] will be Unnata (raised), [because in relation of it] the waist, the side, the arm and the shoulder will be raised.

Prasarita (stretched)— the stretching of the sides in their (respective) directions.

Vivartita (turned round)—the Trika (sacrum) is to be turned round.

Prasrta (drawn away)—the side restored to its original position from the Vivartita movement [described above].

These are the definition of the various kinds of sides.

Uses of the sides 16-17. Nata (bent)—in approaching any body.

Unnata (raised)—in going backwards.

Prasarita (stretched) —in joy and the like.

Vivartita (turned round) ~in turning about,

Apasrta (drawn away)—in returning,

These are the uses of sides. Now listen about those of the belly

The belly

18. The belly is of three kinds: Ksama (thin), Khalva (depressed), and Parna (full). OF theso, the thin (belly) is Ksama, the bent is Khalva and the full belly is Pairna,

10 (B.IX.233, 6.11). 11 (BIX.284, 0.12). 12-15 (B.IX.235-238, G.13-16), । ए reads nivarttta, “16-17 (BAX. 239-240, G.17-18). । 18 (B.IX.241, 0.19).

-X. 95) THE GESTURES OF OTHER LIMBS 199 "+ Uses of the Belly

19-20. Kesama, (thin) : in laughter, weeping, inhalation and yawning.

Khalva (depressed) : in sickness, penance (tapas), weariness and hunger. ।

Parna (full) : in emitting breath, fatness, disease, too much eating and the like.

These are the uses of the belly. Now listen about that of the waist.

र The waist

91-24. The waist in dance and drama is of five kinds, viz. Chinna (turned aside), Nivrtta, (turned round), Recité (moved about), Prakampiti= Kampita (shaken) and Udvahita (raised).

Chinna (turned aside)—in turning the middle of the waist.

Nivrtta (turned round)—in turning to the front from the reverse position.

Recita (moved about)—in moving in all directions.

Prakampita (shaken)—in obliquely moving up and down.

Udvahiti (raised)—in raising the two sides of the waist slowly.

These are the movements of the waist. Now listen about their uses,

Uses of the waist

25-26. Chinna (turned aside): in exercising [the limbs], hurry and looking round.

Nivrtta (turned round) : in turning round.

Recita (moved about) : in movements [of the general type].

Prakampita (shaken): in the walking of hunch-backs and persons of the inferior type.

19-20 (B.IX,242-248a, 244a, G.20-21). ` B.G. read an additional he- mistich between 20a and 20b. 21-24 (B.IX.244b-248a, G.22-25). |! BG. read differently, 25-26 (B.IX.348b-250a, G.26-27), 25

194 THE NATYASASTRA [ X. 9.

Udvahita (raised) : in the [movement of] corpulent [persons] and the amorous movements of women. The thigh 27-30. The thighs have five conditions, viz. Kampana (shaking) Valana (turning), Stambhana (motionlessness), Udvartana (springing up) and Vivartana (turning round). 31, Kampana (shaking)—raising and lowering of heels repeatedly, Valana (turning)—drawing the knees inwards [while going]. Stambhana (motionlessness)— suspension of movement. Udvartana (springing up)—drawing the knee inwards (valita) and moving it. Vivartana (turning rould)—drawing the heels inwards. Uses of the thigh 32. Kampana (shaking): in the frightened movement. of persons of the inferior type. Valana (turning): in the movement of women at ease. Stambhana (motionlessness) : in perturbation and despair. Udvartana (springing up) : in exercising [the limbs] and the Class Dance. Vivartana (turning round): in going round due to causes like hurry. 33. Similar other {conditions of the thigh] as they are found in popular practice, may be assumed. So much about the description of the thigh. Now listen about the shank.

The shank

34-37. The shank is of five kinds, viz Avartita (turned) , Nata (bent), Ksipta (throwmout), Udvihita (raised) and Parivrtta (turned back),

27-30 (B.IX.250b-253, G.28-31a), „ 80-82 (B,IX.254-256a, G.31b-83). 33 (B.IX.256b-257a, 0.84), ` 34-87 (B.IX.257b-258a, 6.36),

X, 41] THE GESTURES OF OTHER LIMBS 195

Avartita (turned)—the left foot turning to the right and the right [one] to the left.*

Nata (bent)—the knee bent.

Ksipta (thrown out)—shank thrown out.

Udvahita (raised)—raising [a shank] up.

Parivrtta (turned back)—the turning back [of a shank].

Uses of the shank 38-40. Avartita (turned) : in the Jester’s walking.

Nata (bent) : in assuming Sthana (standing) and Asana (sitting) postures,

Ksipta (thrown out): in the exercise (of limbs] and the Class Dance.

Udvahita (raised): in movements like quick (@viddha) walking.

Parivrtta (turned back): in Class Dance and the like.

These are the movements of the shank, Now listen about the movement of the feet.

The feet and their uses

41-50. The feet are of five kinds, viz. Udghattita, Sama,

Agratalasaficara, Aficita and Kuiicita

Udghattita—standing on the fore part of the feet and then touching the ground with the heels.

(Use) : In practice this is to follow the Udghattita Karana and this should be applicd once or more in the high or medium speed.

Sama (natural)—[feet] naturally placed on an even ground, It relates to representing a natural posture.

(Use) : It should be kept still in representing the natural

88-40 (B.1X.262b-263a, G.39).

41-30 (B.1X.265b-270a, 273b-278a, G.42-45, 47-52). 1 B, adds three additional couplets after 45, and ©. adds one additional couplet after 44.

2 B. reads ८41८4 for ksata meaning ‘wound’.

196 : THE NATYASASTRA [ X. 51.

position of the body in connexion with the various Karahas, but in the Recaka movement of the feet it should be moved.

Agratalasaficara—the heels thrown up, the big toe put forward and the other toes bent.

(Uses): This [is to be used] in urging, breaking, standing posture (sthanaka), kicking, striking the ground, walking, throwing away [something], various Recaka movements and walking on the forepart [of the foot] due to an wound at the heel.

Aiicita—the heels on the ground, the forepart of the feet taised and all the toes spread.

(Uses) ; It is to be applied in representing a movement with wound at the forepart of the foot, turning round in every way, foot being struck (by something] and in various Bhramari movements.

Kujicita—the heels thrown up, toes all bent down and the middle of the feet too bent.

51. (Uses) : It is to be used in aristocratic (udatta) going, turning round to the right and vice versa and the Atikranta Cari,

The Caris

52. Persons practising (the Caris] should take up simul- taneously the movements of the feet, the shanks and the thighs. [For] in the movement of feet are included all the movements of the shanks and the thighs.

58. The thighs follow the way in which the feet are moved, and these two [limbs] constitute together the Cari of the feet.

84. These are the descriptions and uses of the [various] limbs, 1 shall now describe the System of the [different] Caris.

Here ends Chapter X. of Bharata’s Natyagastra, which treats of the Gestures of other Limbs

nS TSEC Eee a ee

51 (B.IX.278-279a, 6.53), 1B. reads after this three additional hemistichs wich define the उल्‌ foot as follows: The [right foot with its] heel raised resting on the big toe and the left foot in the natural position constitute the Siici fect, It is used in dance and playing the Napura.

« 52 (B.IX.281, 6.56). 53 (B.IX.282, G.57). 54 (B.1X.283, 6.48). ।

CHAPTER ELEVEN THE CARI MOVEMENTS Definitions

1, Asthe Caris prescribed by rules and connected with [different} limbs relate to (vyayacchante from vya-yam, stretch out to) one another they constitute (lit. are called) a vyayama (System)?.

2. Cari: The movement [mainly] with a single foot, is called the Cari.

Karana? : The two feet moving [together] is called the Karana.

3. Khanda: A combination of the [three] Karanas is called the Khanda.

Mandala: Three or four Khandas combine to make up the Mandala.

9

Uses of the Cari

4. From the Oaris proceed dance as well as moveménts [in general] and release of missiles ; and [the stage] fighting [in general] should be made with the Caris.

5. Whatever has been described as Histrionic Representa- tion (na@fya) is included in the Caris, and no part of it can take place without the same.

6. Hence I shall described the rules of the Caris which are to be used in dance, ordinary movements and fights (on the stage],

The thirtytwo Caris

7-9. The following sixteen are the earthly (bhaumi) Caris : Samapada, Sthitavarta, Sakatasya, Adhyardhika, Casagati, Vicyava,

1 (B.X.2, 6.2). " B.G. read one additional couplet before this,

2 (B.X.8,G3). ` This Aarana should be distinguished from that mentioned in NS. IV. 30, 34-75, 63ff, 3 (B.X.4, 6.4).

4 (B.X.5, 6.9). 5 (B.X.6, 6.6), 6 (B.X.7, G.7). 29 (B.X.8-10, 0.8.10),

198 THE NATYASASTRA [ XI. 10

Edakakridita, Baddha, Uriidvetta, Addita, Utsyandita,* Janita, Syandita*, Apasyandita®, Samotsarita-matalli and Matalli.

10-12. The acrial (@cagiki) Caris are sixtecn in number. They are as follows: Atikranta, Apakranta, Parsvakranta, Urdhvajanu, Siici, Niipurapadika, Dolapida, Aksipta, Aviddha, Udvrtti, Vidyudbhranta, Alata, Bhujangatrasiti, Harinapluta, Dandé and Bhramari.

The earthly Ciris

13. Samapada - the two fect close together, the nails (of the 1068] meeting, and standing on the spot?. ;

14. Sthitavarta—one Agratalasaticara foot drawn up to cross the remaing foot and this movement repeated with another foot after separating the two.

15. Sakatasyi—the body held upright, one Agratalasaiicara foot put forward and the breast being Udvahita.

16. Adhyardhiki—the left foot on the back (1.6. heel) of

Ta

the right one, the latter to be drawn away [a Tala and half a part}.

17. Casagati—the right foot put forward and then drawn back and at the same time left foot drawn back and put forward afterwaids.

18. Vicyavi—seperating the feet from the Samapada posi- tion and striking the ground with their fore part.

19. Kdakakriditi—jumping up and down with the Tala- saficara feet.

1G. reads these names as Utspandita, Apaspandita and Spandita and B. as Utspandita, Syandita, and Apasyandtts. 1 have been taken the root syand as the basis of all these names. Mss. erratically give syand and spand, * see note 1 above. $ bid,

10-12 (B.X.11-13, G.11-13).

13 (B.X.14, 68 14). 1 01 the appropriateness of this name Ag. writes: नन्‌ समपादा कथं वा वारोय,इ - स्यानसं्रयेति यदा eae एव wa गच्छति तदा चरणथारी भवेव योग्यतया तथ। व्यपरदशादिति भाव;.

14 (B.X.15, 6.19). 15 (B.X.16, G.16),

16 (B.X.17, 6.17). 1 The exact measure (1} 1200) is given by Ag,

17 (B.X.18, G.18). 18 (B.X:19, 6.19). 19 (B.X.20, 6.20),

XI. 81] THE CARI MOVEMEMTS 199

20. Baddha—The sideways movement of the thighs when the two shanks are crossed.

21. Urudvrtta—the heel of a Talasaiicara foot placed outwards, one of the shanks to be slightly bent and the thigh turned up.

22. Addita—one Agratalasaiicara foot rubbing against the fore part or the back of another foot.

23. Utsyanditéa—the two feet to move gradually side- ways (lit. in and out) in the manner of the Recaka,

24. Janiti—a Musti hand held on the breast and another hand movod round, and the fect to be Talasaiicara.

25. Syandita—one foot put forward five Tila8 away from the other.

Apasyandita—the reverse of the Syandita Cari (i.e. another foot being put forward five Talas away from the other).

26. Samotsarita-matalli—going back with a circular move- ment and the feet being of the ‘Talasaiicara kind.

27. Mattali—going back with a circular movement and hands being Udvestita and motionless.

28. These are the Caris used in pesonal combat as well as in the Karanas. I shall now describe the acrial Caris.

The acrial Caris *

29. Atikranti—a Kuiicita foot thrown up, put forward and caused to fall on the ground.

20. Apakranti—the Valana posture of the two thighs, a Kuiicita foot raised and thrown down sideways.

31. Parévakranti—one foot Kuiicita and another thrown up.and brought near the side.

20 (B.X.21, 6.21); 21 (B.X.22, 6.22). 22 (B.X.23, 6.28). 23 (B.X,24, 6.24). 24 (B.X.25, G.25). 25 (B.X.26, G.26). 26 (B.X.27, G.27). 27 (BX.28, G.28). 28 (B.X.29, G.29). 29 (B.X.80, G.30). 30 (2.31, G.31). 31 (B.X.82, 6.32).

300 THE NATYASASTRA ; [ XI. 32-

32. Urdhvajanu—throwing up a Kuiicita foot and its knee brought up to the level of the breast, and the remaining knee with- out movement and then this second foot thrown up in the manner of the first, and the first foot kept motionless.

38. Sici—a Kuiicita foot thrown up and brought above the knee of the remaining foot and then to let it fall on its fore part. 3 84. Niipurapadiki—one Aiicita foot raised up and taken behind another foot and then quickly caused to fall on the ground.

35. Dolapada—one पीला, foot thrown up and moved from side to side and then caused te fall on the’ ground as an Aiicita foot,

36. Aksipti—one Kuiicita foot thrown off and then placing it quickly on an Aiicita foot by crossing the shank of the remaining leg,

37. Aviddha—one Kuiicita foot from the Svastika posi- tion stretching and falling on the ground quickly as an Aiicita foot.

88. Udvrtti—the (Kuficita) foot of ‘the Aviddha Cari taken round [the thigh of the remaining leg] and thrown up and then caused to fall [on the ground].

39. Vidyudbhranta—one foot turned to the back and after touching its top part to be stretched and the head moved in a circle.

40. Alata—one foot stretched backwardg and then put in and afterwards caused to fall in its heel.

41. Bhujahgatrasiti—one Kuiicita foot thrown up and the waist and the knee being turned round and the thigh [of the remaining foot] to be turned round too.

42. Harinaplutié—the foot in the Atikranta Cari to be caused to fall on the ground after a jump and the shank of an Aficita foot to be put in the Ksipta posture.

32 (B.X.33, G.33). 33 (B.X.34, 0.84). , 84 (B.X.85, G.35), 35 (B.X.36, © 36). 36 (B.X 37, G.87). , 37 (? + 38, G.88), 38 (B.X.39, G.39). 39 (B.X.40, 6.40), 40 (B.X.41, 6.4), 41 (B.X.42, 0.42). 42 (B.X.43, 6.43).

XI. 63] THE CARI MOVEMENTS 201

48. Dandapida: the foot in the Niipura— [काप] Cari to be stretched and quickly to turn.

44, Bhramari : the foot in the Atikrinta Cari to be thrown up and the entire body turned round (lit. the Trika turned round) and then the second foot to be moved on its sole.

45. These are the aerial Caris, consisting of graceful movements of the limbs. These are to be applicd in the release of weapons like an arrow and the thunderbolt (vajra),

46. O Brahmins, in all these cases the two hands should, according to the circumstances, either precede, go simultaneously with or follow the feet.

47. Where the foot [moves], there the hand [should follow] and where the hand [moves], there the entire body. [Hence] after taking a step, all the minor limbs should be made use of,

48. When in course of a Cari a foot comes to rest on the ground the [corresponding] hand should be moved round and brought on the waist.

49. Ihave fiinished describing the Caris consisting of grace- ful movements of the limbs. I shall now speak of the Sthanas (standing posture) to be used in the release of missiles of all kinds.

The Sthanas

50. The six Sthanas (standing posture) for men are Vaisnava, Sampada, Vaigakha, Mandala, Alidha, and Pratyalidha.

51-52. Vaisnava—the feet two Talas and a half apart, one foot in the natural posture and another obliquely placed with toes pointing sideways and the shank bent (ancita) and limbs with the Sausthava. Visnu is the presiding deity of this Sthana.

53. (Uses) : From this Sthina persons of the superior and the middling types should carry on their ordinary (lit. natural) conversation in connexion with the various duties.

43 (B.X.44, 0.44) 44 (B.X 45, 0.45). 45 (B.X.46, G46). 46 (B.X.47, G.47). 47 (B.X.48, 6.49}. 48 (B.X.49, G.49). 49 (B.X.50, G.50). 50 (B.X.51, 6.51). 51-52 (B.X.52-53, G.52-53). , 53 (B.X.54, G.54).

26

` क ` `" | पष्ठ NAVAS. [ XI, 54- 54. It should also be assumed in throwing a disc, holding a bow, in patient and stately movement of the limbs and in anger.

55-57. On being reversed it is to be used in anger of love. And similarly in the administration of rebuke, and in love, distress, apprehension, envy, cruelty, assurance, and recollection, it is to be assumed when the Erotic, the Marvellous, the Odious and the Heroic Sentiments are prominently introduced.

57-58. Samapada—the feet in the natural posture and kept one Tala apart and the body with the natural Sausthava. Brahman is its presiding deity.

58-60. (Uses): It should be assumed in acespting blessings from the Brahmins?, and in mimicking birds. The bridegroom at the marriage ceremony, persons in the sky, chariot and aerial car (vimana), persons? of marked sects (Lizgastha) and persons practis- ing vows are also to assume _this.

60-62. Vaisékha—the two fect three Talas and a half apart and the thighs without motion ; [besides this] the two feet to be obliquely placed pointing sideways. Kartikeya (Skanda) is its presiding deity.

62-64. (Uses): This Sthana should be assumed in riding horses, and in exercise, exit [from any place] mimicking large birds, practice of bending the bow and in the Recakas [of the fect].

64-65. Mandala: It relates to Indra (iv. its presiding deity is Indra). In it the feet are four Talas apart and they are obliquely placed and turned sideways, the waist and the knee are in the natnral position.

54 (B.X. 55, 6.88). 55-57 (B.X.56-58, © 56-57). 57-58 (B.X.58-59, 0.58).

: 58-6) (B.X.59-61, G.59-60). 1 vipramaigala—viprath yan maiiga- lasirvacanid? (Ag.). * ltiigasthin—saividyah vratastha wrdhvakayads prajnairgih (?) (Ag.). 60-62 (B.X.61-63, G.61-62). 62-64 (B.X.63-65, G.63-64), 64-65 (B.X.65-66, 6.65),

XI. 74 J ˆ THE CARI MOVEMENTS . 208 ,.

65-66. (Uses): The Mandala Sthana should ‘be ass med in the use of weapons like the bow and the thunderbolt, riding of elephants, and mimicking large birds.

66-67, Alidha: The right foot in the Mandala Sthana

drawn five Talas apart [from the other foot] will make the Alidha Sthana. Rudra is its presiding deity

67-69. (Uses): This Sthdna should be assumed in all acts relating to the Heroic and the Furious Sentiments, ducl of wrestlers and in the representation of enemies, an attack [on them], and release of missiles.

69-70. Pratyalidha: When the right foot is bent and the left foot is put forward in the Alidha Sthana the Pratyalidha Sthina will be produced.

_ 70-71. (Uses): The missiles made ready for throwing from the Alidha Sthana are to be [actually] thrown from the Pratyalidha Sthana. The actor should use various weapons from this Sthana.

The four Nyayas in using weapons

71-72. There are four Nydyas (ways) of using weapons (lit. releasing missiles), viz. Bharata, Sattvata, Varsaganya, and Kaisgika.

72-73. Inthe Bhirata [Nyaya the weapon] should strike (lit. cut) at the waist, in the Sittvatta at the foot, in the Varsaganya at the breast and in the Kaisika at the head.

73-74. In these Nyayas arising out of the various Caris, the actors should walk about [on the stage] at [the time of] using weapons,

74-75. The Nyayas (way) are so called? because fights [on the stage] are niyante (carried on) with the Angaharas relating to the Nyiiyas and arising out of them.

65-66 (B.X.66-67, 0.66). 66-67 (B.X.67-68, G.67). 67-69 (B.X.68-70, G.68-69). 69-70 (B.X.70-71, 6.70). 70-71 (B.X.71-72, 6.71). 71-72 (B.X.72-73, 6.79), 72-73 (B.X.73-74, 6.78). - 73-74 (B.X.74-75, 6.74).

74-75 (B.X.75-76 G.75). 1 paskirtitah ए. reads pravartitah.

204 THE NATYASASTRA [XE 1

75-79. Bharata: Putting forward the shield with the lefe hand and taking the sword (lit weapon) the actor should walk about on the stage. Stretching the hand forward fully and then

drawing it back he should move the shield at his back from side to side and flourish the sword (lit. weapon) around his head, and it should also be turned round [about the wrist] near the cheek. And again the hands holding the sword and the shield should be flourished gracefully around the head.

80-81, Sattvata: I shall now speak of walking about in the Sattvata Nyaya. In it the same flourishing (i.”. as in Bharata) of the sword and the shield holds good, but this (the flourishing of the weapon) should take place at one’s back.

81-82. Varsaganya . The walking about in the Varsaganya Nyaya will be similar to that in the Sattvata, and the sword (lit weapon) and the shield also should be flourished similarly, but these should go round the head. ==,

83-84, Kaisika: The flourishing of the sword (lit. weapon) near the breast or the shoulder which is to take place in the Bharata [Nyaya] will hold good in case of the Kaisika. But {in the latter] the sword (lit. weapon) should be made to strike only after being flourished over the head.

84-85. With these graceful movements of the limbs weapons like the bow, the thunderbolt and the sword are to be flourished at the time of their use.

85-87. In the stage-fight there should be no [actual] pier- cing, cutting or flow of blood and the actual striking. The use of weapons (lit. release of missiles) should be done with its mimicry, or the cutting off {of any one’s limb] should be represented, according rules, by the use of gestures and postures only.

78-88. The exercise should be performed in the Aigaharas न oy eee : 76-79 (B.X.76-80, 76-80), 80.81 (B'X.81-82, G.80-81).

81-82 (B.X.82-93, G,82-83) 83-84 (B.X.84-85, G.83-84). 84-85 (B.X.85-86, 0.88). 85-87 (B,X.76-88, C.76-87). “87-88 (B.X.88-89, 0.88). । BG, read ono additional couplet after

this.

“XI. 9५] THH CARI MOVEMENTS 205

embellished with* fhe Saugthava and accompanied by music with [proper] tempo and Tala. The Sausthava 88-91. Those performing the exercises [in Atgaharas] should take care of the Sausthava, for the limbs without it (Sausthava) create no beauty (lit. do not shine) in drama or dance. ‘'he Sausthaya of limbs is to be presented by being still, unbent, at ease, not very upright and not much bent. When the waist and the ears as well as the elbow, the shoulder and the head are in their natural position (sama) and the breast is raised it will be the Sausthava [of the body].* The Caturasra 91-92. Caturasara: The Vaishnava Sthiina with the two

hands moving about at the waist and the navel together with the breast raised, is called the Caturasra of the limbs.

The four acts relating to the bow

92-93. There are four acts relating to the how, viz. prepar- ing (purimarjana), taking an arrow (a@d@na), taking an aim (santhana) and shooting (molsuna).

93-94. The preparing (parimarjunc)? is the bending [of the bow], taking (+त) is the pulling out of [the arrow], taking an aim (sandhana) is to put the arrow to the bow, and shooting (moksana) is the release [of the arrow].

The method of exercise

94-95. .One should perform exercise [in the Angahiras and Caris] on the floor as well as [high up] in the air and should have beforehand get one’s body massaged with the [sesamum] oil or barely gruel.

88-91 (B-X.89b, 91-93, G.89b 90-92). ` B.G. read one additional ceuplet after this.

91-92 (B.X.94-95, G.94). 92-93 (B.X.95-96, G.95).

93-94 (B.X.96-97, 0.96). | G. reads sammirjana.

94-95 (B.X.97-98, G.97).

206 THE NATYASASTRA ` [ XI. 96.

95-00. The floor is the proper place (lit. mother) णि exercise. Hence onc should resort to the floor, and stretching oneself over it one should take exercise.

Health and nourishment of persons taking exercise

96-99. For the strength of body one should take [proper] snuff and get onesclf purged lit. resort to the rule regard- ing the abdomen}, take agreeable food, [meat-] juice and drink. For vitality is dependent on one’s nourishment and the exercise is dependent on vitality. Hence one should be careful about one’s nourishment. When the body is not cleansed and one is very tired, hungry, thirsty, has drank too much [water], gaten too much, one shonld not take exercise. The wise [teacher] should give training in exercise to his pupil who has a graceful body and square breast and is not covered with [much] garment.

100. These are the rules regarding the Caris in connexion with the exercise of [the limbs] I shall hereafter speak of the different Mandalas.

Here ends Chapter XI of Bharata’s Natyasastra which treats of the Rule of Caris.

95-96 (B.X.98-99, 6.98). 96-99 (B.X.99-102, 6.99-109). 100 (B.X.108, G.103).

CHAPTER TWELVE THE MANDALA MOVEMENTS The Mandalas

1. Ihave now properly described the Caris in connexion with the use of weapons (lit. rcleasc of missiles) [Now] learn ‘about the Mandalas arising out of a combination of the Caris.

2-3. The aerial Mandalas are: Atikranta, Vicitra, Lalita- saiicara, Siicividdba, Dandapada, Vihrta, Alata, Vamaviddhia, Lalita and Kranta?,

3-5. The earthly Mandalas are Bhramara, Askandita?, Avarta, Samotsarita, Edakakridita, Ad tita, Sukatasya, and Casagata. [Now] listen about their description.”

The acrial Mandalas

6-9. Atikranta—the right foot [to be moved successively] in the Janita Cari and [the Sakatasya Cari in which the breast is] Udvahita, the left foot in the Alata Cari and the right foot in the Parévakranta Cari. (next) the left foot in the Stci Cari and the right foot in the Apakranta Cari, [again] the left foot [successively ] in the Sici Cari and [the Bhramari Cari by] turning the Trika?, (then) the right foot in the Udvritta Cari and the left foot in the Alata Cari which should be changed (lit. divided) to the Bhramari Cari, again this left foot in the Alata Cari and the right foot in the Dandapada Cari.

10-13. Vicitra—the right foot [successively to be moved] in the Janité Cari and in the Talasaiicara? (Nikuttana), manner

1(B.X11, 6.1).

2-3 (B.XJ.2-3, C.2-3). + B. adds one additional hemistich after this.

3-5 (B.X1.4-6, G.3-5). ¬ Mss. sometimes gives this name as asfan- dita which seems to be a corruption for askandita. Sce the Cari ofthis name XI, 7-9.

2 B. reads 5b. differently. .

6-9 (B.XI.7, 8b-11, 6.6-2). ' Seo Ag.

10-13 (B,XI,11b-12a, 139, 13-15, G,10-13), ' See Ag.

208 THE NATYASASTRA { XII. 14

(then) the left foot in the Syandita Cari, the right foot in the Pars- vakranta Cari?, (again) the left foot in the Bhujangatrasita Cari and the right foot [successively] in the Atikrana and Udvetta Caris, (next) the left foot in the Sici Cari, the right foot in the Viksitpa (Aksipta) Cari and the left foot in the Apakranta Cari.

14-17. Lalitasaitcara—the right foot with the kneo raised [to move] in the Suci Cari, (next) the left foot in the Apakranta Cari and the right one in the Parsvakranta Cari (again) the left foot [successively] in the Siici and the Bhramari Ciasis [this latter by turning round the Trika] and the right foot in the Parévakranta Cari and the left foot in the Atikranté Cari which to be changed (lit, divided) into the Bhramari Cari.

18-19. Sticividdha—the left foot [to be moved] in the Siici and the Bhramari Caris [the latter by turning the Trika round], the right foot in the Parsvakranta Cari the left foot in the Atikranta Cari, next the right foot in the Siici, the left foot in the Apakranté Crai and the right foot again in the Parsvakranta Cari.

20-22. Dandapada—the right foot to be moved in the Janita and the Dandapida Caris, the left foot in the सिति and the Bhramari Caris [the latter by turning the Trika}, (next) the right foot in the Uriidyrtta Cari and the left foot in the Alita Cari, (again) the right foot in the Parsvakranta Cari and the left foot [successively] in the Bhujaigatrasta and the Atikranta Caris to meet the right foot in the Dandapada Cari and the left foot [successively] in the Stici and the Bhbramari Caris [the latter by turning the Trika},

23-26. Vihrta—the right foot [to be moved] in the Janita Cari (then) its Nikuttana, (next) the left foot in the Syandita Cari and the right foot in the Uridvrtta Cari, (then) the left foot in the Alata Cari and the right foot in the Siici Cari, again the left

- B. reads one additional hemistich after 10. 14-17 (B.X1.16-17, 19, G.14-16, 18). ' B.G. reads one additional couplet after 16. + 18-19 (B.XI.20-21, G.19-20). 20-22 (B.X1-22-24, G.21-28), 23-26 (B.X1,25-28, G.24-27).

-XII. 88 ] THE MANDALA MOVEMENTS 209

foot in the Parévakranta Cari and the right foot in the Aksipta and the Bhramari [this by turning the Trika] and the Dandapada Caris, (then) the left foot in the Sici and the Bhramari Caris [the ‘latter by turning the Trika] again the right foot in the Bhujaiga- trasita Cari and the left foot in the Atikranté Cari.

27-29, Alata—the right foot [to be moved] in the Siici Cari and the left foot in the Apakranta Cari, then the right foot in the Parsvakranta Cari and the left foot in the ‘Alata Cari, after moving by turn in the these [two] Caris six or seven times with graceful steps, again the right foot in the Aprkrantaé Cari and the left foot [successively] in the Atikranta and the Bhramari Caris.

30-33. Vamaviddha—the right foot [to be moved] in the Siici Cari, the left foot in the Apakranta Cari, (then) the right foot in the Dandapada Cari and the left foot in the Siici Cari and right foot in the Bhramari [this by turning the Trika] and the Pargva- kranta, Caris, (next) the left foot in the Aksipta Cari and the right foot in the Dandapada and the Uriadvrtta Caris, (then) the left foot [successively] in the Siici, the Bhramari (this by turning the Trika] and the Alata Caris, (next) the right foot in the Pragvakranta Cari and the left foot in the Atikranta Cari.

34-37. Lalita—the right foot [to be moved]in the Siici Cari and the left foot in the Apakrantaé Cari, (then) the right foot in the Parsvakranta and the Bhujangatrasita Caris, (then) the left foot in the Atikranté Cari and the Uriidvrtta Caris the left foot and the Alaté Cari, and the right foot in the Parsvakranta Cari, next the left foot in the Atikranta Cari with graceful steps.

38-40. Kranta—the right foot [to be moved] in the Siici Cari and the left foot in the Apakranté Cari, then the right foot in the Pirsvakranta Cari and the left foot too in the same Cari (Pars- vakrama), moving round alternately in these Caris in all directions, again the left. foot in the Sitici Cari and the right foot in the

27-29 (B.XI.29-80, 81b-82a, 0.28-30). 7 30-38 (B.XJ.32b-36a, G.81-34).

34-37 (B.XI 36b-37a, 38-40, G.85-37). 1 G. omits 35a and 3¢b, 38-40 (B.X1.40b-43a, G.38-40), ="

37

910 "= "HE NATYASASTRA {XI 41-

Apakrinta "Cari. This Mandala is prescribed for the natural gait. Hence it is called Kranta i. going.

41. These are the aerial Mandalas. Now T shall describe those on the earth. :

The earthly Mandalas

42-44, Bhramara—the right foot [to be moved] in the Janita Cari and the left foot in the Skandita (Askandita) Cari, then the right foot in the Sakatasya Cari and the left foot to be stretched,

(next) the right foot in the Bhramari (‘iri [by turning the Trika}, again the left foot in the Skandita (Askandita) Cari and the right foot in the Sakatasy:: Cari, then the left foot in the Apakranta (Apasarpi) Cari and the Bhramari Cari by turning about the back.

45-47, Askandita—the right foot [to be moved] in’ the Bhramari Cari and the left foot in the Addita and the Bhramari Caris [the latter hy turning the Trika}, then the right foot in the Uradvrtta Cari and the left foot in the Apakranté (Apasarpit :) and the Bhramari Caris (the latter by turning the Trika then] the right foot in the Skandita Cari, (next) the left foot in the Sukatdsya and the same foot to violently strike the ground.

48.50. Avarta—the right foot [to be moved] in the Janita Cari and the left. foot in the Talasaitcara (Nikuttaka) Cari, then the right foot in the Sukatasyé and the Oridvrtti Cari, (next) the right foot foot the Atikranta (Apasarpt) Cari turning backwards and the Casagati Cari, then the right foot in the Skandita (Askandita) Cari and the left foot in the Sakatisy® Cari, again the right foot in the Bhramari Cari with the ‘Trika turned round, and the left foot 10 the Apakranta (A psarpi) Cari.

51-53. Samotsarita—assuming first of all the Samapada Sthina, then stretching the two hands with their palms turned upwards, (next) their intermittant Avestana and Udvestana move ments, [then putting .the left hand] on the waist, the right hand moved in the Avartita manner [next the right hand to be put on

4] (B.X1.43b-44a, 6.41).

42-44 (1. 1440-47५, G.42-44). 45-47 (B.X1.47b-50a, G.45-47).

48-50 (B.X150b-53a, G.48-50). 51-58 (B.X1.53b-56a, 51-53),

XII. 63 ] THE MANDALA MOVEMENTS 211

on the waist] and the left hand moved in the Avartita manner, moving round alternately with this Cari will rise to the Samotsa- rita Mandala.

54-55. Edakakridita—the two feet on the ground [to be moved successively] in the Siici and the Edakakridita Caris, (next) the swift moving Bhramari Cari by turning the Trika, (then) mov- ing [the feet] round alternately in the Stici and the Aviddha Caris, This will give rise to the Khanda-mandala named Edakakridita.

56-58. Addita—the right foot (to be moved] 7 the Udghattita. manner and then [simply] moved round, next [to be moved] in the Syandita | Asyandita) Cari and the left foot in the Sakatasya Cari, next the right foot to be moved backwards in the Apakrinta (Apasarpi) and the Casagati Caris, (then) the left foot in the Addita Cari and the right foot in the Apakranta (A pasarpiti) Cari. (next, the left foot in the Bhramari Cari and the right foot in the Syandita (Asyandita) Cari and to violently strike the ground.

59-60. Sakatasya—The right foot [to be moved] in the Janité Cari and next it to move in the Talasaiicara (Nikuttaka) manner, the same foot in the Sakatasya Cari and the left foot in the Syandita (Asyandita) Cari, moving round in this manner alternately with the Sakatasya Cari. This Cari Mandala named the Sakatasya is to be used in fight.

61-62. Adhyardha—the right fooot [to be moved succes- sively] in the Janita and Syandita Caris, then the left foot in the Apakranta (Apasarpita) Cari and the right foot in the Sakatasy«. Ciri. Moving around alternately in these Caris, will be the Cari Mandala named the Adhyardha to be used in personal combat.

63-64. Pistakutta—The right foot [to be moved] in the Siici Cari and the left foot in the Apakranta [then] the right foot in

54-55 (B.XI.56b-58a, G.54-55). |} This Ahandamandala seems to be another name for edakakrids ta.

56-58 (B.XL58b-6la, G.56-58). | aspholana—padatalena bhtime- tadana (Ag.).

59-60 (B.X1.61b-63a, G.59-60). ` 61-62 B.X1.63b-65a, G.61-62).

68-64 (B.XI.65b-67a, C.63-64).:

219 THE NATYASASTRA [XI 66-

the Bhujaigatrasita Cari and the left foot too in the same Cari. Thus going round in the Bhujangatrasita Cari is known as the Cari Mandala named the Pistakutta known to be used in personal combat.

65, Casagata—Going round with feet in the Casagaté Cari is called the Cari Mandala named Casagata. It to be used in per- sonal combat.

66. Here I have described in brief the Mandalas arising out of the various Caris. Now I shall describe the Sama Catis.

67. The use of the Sama Caris are known as Sama Manda- las. [An actor] using them is to follow the instruction of the master actor (Gcaryabuddhi),

68. These Mandalas to be used in fight aud personal combat, are to be performed with sportiveness and graceful move- ments of limbs, and should be accompanied by [suitable] instrumen- tal music,

Here ends Chapter XII of Bharata’s Natyagastra, which treats of the Rules about the Mandalas.

65 (B.X1.67b-68a, G.65). 66 (B.X1.68b-69a, 6.66).

67 (B.X1.69b-70a, 0.67). 68 (B.X1.79b-71a, 6.68).

CHAPTER THIRTEEN THE DIFFERENT GAITS

1. So much about the formation of the Mandalas by a combination of the Systems of Cari (cari-vyayama). I shall here- after describe the Gaits suitable for (lit. existing in) different characters [in a play.

Entrance: of dramatis personae

2-3. After the Upavahana in accompaniment of drums and other musical instruments has been performed by observing Kalas suitable to the Marga [adopted in it], and the Dhruvas [to be sung] at the entrance of dramatis personac, have commenced and the curtain has been drawn away, the actors who are to develop the Sentiments in the various items [of a play] should enter (lit. be made to enter) the stage.

Posture for superior and middling characters at the entrance

4-7. In case of characters of the superior and the middling types [the actor] should assume the Vaisnava Sthana, his breast being raised, Sama and Caturasra, shoulders at rest and not raised very much, the neck as graceful as that of a peacock, the shoulders eight Angulas apart from the ears, the chin four Angulas apart from the breast, and the two hands (the right and the left) respectively at the navel and at the left waist.

The interval of their feet

8-9, [In the posture described above] the interval between

the two feet [of the actor] should be two Talas and a half. Steps

1 @.वा.1, 6.1). 1 On the Gait Ag. says : “The Gait is to be pres- cribed with a view to the person, Sentimont, situation, place and occasion”.

2-3 (B.XII.2-3, G.2-3). '-It seems that wpavahana gave rise to upohana(Pkt.) which afterwards was adopted in its place; for wpohana see NS. (Ch) XXXI. 235ff, It is defined by Ag. as follows: upohyjante samasa-vyasatah padakalatilasamabhthitah svara yasminn ange tat tathoktam (1.7.186), <

4-7 (ए. 047). 8-9 (B.XIL.8-0,G.8-9).

‘

५14 THE NATYASASTRA [ XIII. 9-

that he will take should according to his own measure [of the hand]

be four or two Talas or one Tala wide.

9-10. In case of [characters such as] gods and kings the steps should be four alas wide, of the middling [type of charac- ters] two Telas, and of women and persons of the inferior type one Tala wide, 7

The time for their steps

10-11. [And the time required for the steps should be] four or two Kalas or one Kala only, [Steps] of the superior [characters] should take four Kalas, those of the middling type two Kalas and those of the inferior type one Kala only.

The tempo of their Gait

12. An expert in the theatricai art should apply three kinds of tempos—slow, medium and quick—to the Gait [of different characters] according to their nature.

13. The Gait of the superior [characters should be] slow, that of the middling [characters should have] the medium [tempo, while the Gait of] the inferior [characters should be] quick and copious. [Thus] should be applied the three tempos according to the spirit [of the different characters].

14. So much about the rules regarding the timing and tempo fol the steps} O the sinless ones, listen now about the manner of taking steps [suitable to different characters],

The natural ` Gait

15. In his natural [Gait] a superior [character] is to raise his knee up to the height of the waist and in case of Caris to be used in fighting the same (i.¢. the knee) is to be raised up to the height of the breast.

16-19. With the graceful steps of the Parsvakranta Cari and

9-10 (B.XII.9-10, G.9-10). 10-11 (B.XIL.10-11, @.10-11). 12 (B.X11.12, G.12), |} B. reads dayam budhah

13 (B.XIL13, G.13). 1 sattoam—cittavyttd h (Ag.).

4 (B.XII.14, 6.14). 15 (B.XII-15, ५.19.

16-19 (B.X1I.16-19, 6.16-19). +

XIII. 24 J THE DIFFERENT GAITS 215

in accompaniment of instrumental music he should go five uniform steps, towards the corner of the stage and then he should move in the शलं Cari by putting forward his left foot first and the right foot afterwards, Then turning round he should go [five similar steps] towards the second corner of [of stage] and then move in the Suci Cari by putting forward his left foot first and the right foot afterwards, Next time he should [again turn round and] go [five similar steps] towards the musical instruments and then again move in the Stiei Cari by putting forward his left foot first and the right foot afterwards. Thus his movement will consist of twentyone steps.

20. In an oblong stage the actor (hharata) should make elaborate foot movements (lit. coming and going by foot-steps), but in square and triangular stages such movements should respectively be of the Caturasra and the Tryasra types.

21. When [a character] is walking along with his equals,- the tempo [of his Gait] will be [according to his own rank in terms! of four or two Kalas or of one Kala.

22, But when any one is walking accompanied by persons of the middling and the inferior types (the tempo of the Gait of the group] will be in terms of four and two Kalas and one Kala.

23. The wise actors should make the steps four Talas wide in case of gods, Danavas Pannagas (Naga), Yaksas, kings, and Raksasas.

2६. All [other] dwellers of the heaven? will have steps of medium [width] But those among them who are haughty? should have Gait similar to that of the gods.

+ See V. 70-71.

20 (B.XIL20, G.20). 21 (B.XIL21, G.21).

22 (B,XII.22, 0.22).

23 (B.XII.23, G.23). ' B.G. reads here daitya instead of deva (god).

24 (B.XII.24, 6.24). 1 By such dwellers devadttas are meant (Ag.).

2 mataliprabhrtayah (Ag.). ,

316 THE NATYASASTRA [ ड, 96. Gait of kings

The sages «question :

25-28. “If the kings are human beings why should they have a Gait similar to that of the gods?” It is said [in reply], “Why should not the kings have Gait suitable for these (1.९. gods) ? In drama the characters [are af three kinds, viz.] divine, semi- divine (lit. divine-human) and human. Of these, the nature of godsis divine, that of the kings is scmi-divine and that of the others is known to the people as human. For-the kings have been described in the Vedas and the Vedanta (Upanisad)? as being made up (lit. born) of the parts of (different) gods. Hence there cannot be any fault in kings imitating the gods.”

29. This is the rule of the Gait in ordinary walking, but for Gaits in cases of hurry, insanity and anger the rule about its measure will got apply.

Gait under special conditions

30. [In those cases] the producers of plays are to apply to all the different characters, superior, middling and inferior, Gaits as modified by their peculiar condition.

31. Their Gaits should be of the duratjon of half of four Kalas or half of that (i. c. two Kalas) on attaining conditions other than the normal ones. .

32, [The relative position of the different characters as regards the timing of their Gaits is as follows]: While a superior {character] will have a Gait of four Kalas, a middling [character] is to have that of two Kalas aad an inferior [character] of one Kala.

33. Whena middling character will have a Gait of a Kala, an inferior character is tq have that of half a Kala. Thus one should make [in different Guits under special conditions) a reduction of Kalas.

शा त 0 25-28 (B.XIT-25-28, G.25-28). | vedadhyiitmasu=vedesu tathis adhyitmasastresu vedantesu (Ag.). 29 (B.XIL29, G.29). 30 (B.XII.30, G.30). 31 (B.XIL31, 6.81). 32 (B.XI1.32, 6.52). , 38 (B.XIL33, G.33), | G. read 33 a differently.

-XIIL. 46 J THE DIFFERENT GAITS 91¶

34. The Gait of superior persons is not to be applied to that of the middling type, and the Gait of the middling characters is not to be applied to, that of the inferior type. । +

Tempo of Gaits under special conditions

35-37. In case of an attack of fever, hunger, fatigue, duc to austerities, [excessive] terror," dissimulation, uneasiness, love {in separation], sorrow and in the sick persons’ walking the Gait’should be of slow tempo lasting more than four Kalis. But in case of anxiety the Gait should be of four Kalas’ [duration]?

37-40. In case of concealed (lit. uneasy) love, panic, fright, agitation, joy, hurried action, hearing of unwelcome news, hanghti- ness or insult, sight of porentuous objects, urgent work, distress, search for enemies, pursuit of an offender and pursuit by a ferocious animal, the wise [actor] should have Gaits with steps of two Kalas’ (duration ].

Gait in the Erotic Sentiment

41-44, The Gait in ordinary love-making should be graceful. (‘The lover] is to enter the stage with the female Messenger (dil:] showing the way. He isto act his part (lit. meaning connected with the play) by means of the सिल. He should be adorned with lovely garments, perfumes, ornaments? and garlands of various xweet-scenting flowers. He should walk with graceful steps in the Atikranta Cari, and his limbs should have the Sausthava, and he should move with proper tempo and Tala. His hands should always follow the feet. The former should be raised along with the falling of the latter and with the raising of the latter the former should fall (lit. vice versa)%.

45-48. Now listen about the Gait in case of concealed love. After dismissing his servants (lit. men) the lover 18 to walk

34 (BXII.39b-40a, G.34). 35-36 (B.XII.34-35, G.35-36). | vzsmaye G.urksate. > G. omits 37a. 87 (B.XII.34-36a, G.35-36). 37-40 (B.XI1.26b-39a, 6-31-39). 41-44 (B.XIL40b-44, G.49b-44a). ¬ See NS. XXIV.43.

2 Read Ardyatr gandhatr tathi vastratr alamkirat8 ca.

> G. omits 44b, 45-48 (R.X1].45-48a, G.44b-47),

28

918 THE NATYASASTRA [ XIII. 48-

[at night] along with the female Messenger as his guide, He is to put out the lamp. He is to be dressed in [simple] clothes suited to the time day and is to not make his toilet elaborately. In making love secretly a person is to walk with slow and silent steps, and from [any] sounds [heard at the time] he is constantly. to look around and tremble in his body and to have a faltering Gait.

Gait in the Terrible Sentiment

48-54. [In treating the Gait] in the Terrible Sentiment I shall speak only with regard to Daityas, Raksasas and Nagas, O Brahmins, the Terrible Sentiment only is dominant in their case. And this Terrible Sentiment is of three kinds, viz. ‘Terrible in make-up, Terrible in limbs and ‘Terrible by nature. [An ex- ample of] the Terrible in make-up is [a Raksasa] with his body dripping in blood, mouth moistened with it and having pieces of flesh in the hands. An example of the Terrible in limb is a very tall [Raksasa] with a prodigious physical frame, many heads, and many hands holding weapons of various kinds. And an example of the Terrible by nature, is a person with red eyes, tawny hair, black complexion and rough voice and a person who is always scolding [others] and who stands with fect four Talas apart and take steps four (द्म wide, This is the Gait which [characters] resembling them are to have.

Gait in the Odious Sentiment

54-56. The Gait [of a person walking] on the ground which is either a place of cremation or a place gruesome on account of a battle {having taken place there] should be used in acting in connexion with the Odious Sentiment. The fect in the Edakakridita Cari falling in quick succession sometimes close to and sometimes wide apart from cach other, with the hands following them, will constitute the Gait in the Odious Sentiment.

Gait in the Heroic Sentiment

57. The Gait in the Heroic Sentiment should consist of swift footsteps in the various Caris.

48-54 (B.XII.48b-54, G.48-53), 54-56 (B.XTL.55-57a, G.54-55). ° 57 (त्या 57b-b7a, 1146, 6.66).

XII 67] ` THE DIFFERENT GAITS 319

58. In case of mental excitement the Gait should consist of footsteps of proper Kala and Tala (kala) in the Parsvakranta, Aviddha and Siici Caris.

Gait in the Marvellous and the Comic Sentiments

59-60. These are the Gaits prescribed for the superior characters. I shall now deseribe the Gait for the middling and the inferior characters. In their astonishment and joy they are to take swift and short steps in all directions, and in their laughter too they are to take to this and similar foot movements.

Gait in the Pathctic Sentiment

61-63, The Gait in the Pathetic Sentiment should be in slow tempo [and it should be connected with] eyes full of tears, drooping limbs, arms thrown up and down, and loud weeping. Aud this Gait is also to contain one and a half times more Kalas । and is to have repeated foot-movements [of the same kind} This [Gait] is also to be used in case of women and persons of the inferior type.

63-66. [In connexion with the Pathetic Sentiment] the superior characters should be patient, tearful, heaving deep sighs and looking upwards and [their Gait in conformity with these condi- tions] is to be of no [regular] measure and [they are] not to have the Sausthava [of the body]. In case of death of their beloved persons and relatives they are to bend down on their breast in dejection and to become senseless due to gricf, and to walk with the feet not raised very high. When too much beaten the shoulder and the arms are to be made drooping and the [entire] body is to be made un- steady (lit. moved round) and walking [should be] by measured steps.

67-69. A [special] Gait is to be assigned to women and persons of the inferior type when they are attacked with cold or are overtaken by a torrential shower. [In such a case] they are to

४8 (B.XII.87b-58a, G.57). 39-60 (B.XIL.58b-60a, G.58-59). 61-68 (B.XII 60b-62, G.60-62a). 63-66 (B.X11.68-66, G.62b-65). ` B, reads one additional hemistich after 64, ४ 67-69 (B.X11.67-89, © .66-68). '

920 THE NATYASASTRA [ IX. 70.

draw all their limbs together, to shiver greatly, to put their two hands on the breast, to bend their body, and their teeth are to clatter and lips are to throb and the chin is to quiver, and in representing an attack of cold the Gait should be slow.

Gait in the Terrible Sentiment -

70-75. In the Terrible [Sentiment] the experts should make the Gait of women, and men of the inferior type who are lacking in spirits, suitable to their nature (lit. in that manner),

[In the Terrible Sentiment] they are to have wide open and moving eyes, the Vidhuta head and the look awe-stricken and turned alternately to sides, and holding the Kapota hand they are to walk with quick steps, trembling body and faltering Gait. This (kind of movement] should be resorted to when a person is pursued (by an enemy], threatened or frightened [by any onc], [And the same rule will apply] when they sce anything dreadful or hear any dreadful sound, In the terrified state the Gait suitable for wowen, and men who are cowards (lit. have renounced prowess) will consist of movement of the feet in the Edakakridita, Cari falling in quick succession sometimes close to and sometimes at a distance from each other, and the hands are to follow them.

Gait of merchants and ministers

76-78. The Gait of merchants and ministers is to be made natural. They should walk in the Atikrents Cart with steps two Tiilas wide. Their [left hand] showing the upturned Katakiimukha should be on the navel, and the right [lit. the first hand] showing the upturned Arla should he on one side away? [from the left one} They should not make their limbs drooping, motionless or excessively moving,

Gait of ascetics and scctarians

79-86. Yatis, Sramanas, those practising austerities and those observing the vow of Brahmacarya are to have a [कद्वव]

70-75 (B.XII.70-75, 6.69-14).

76-78 (B.XII.76-78, G.75-77). › Be reads stanantare for ‘tadantare (G. tathintare). |

79-86 (8.31.79-86, G.78-85). + 2504 (B. ०८404).

XIII. 881 THE DIFFERENT GAITS 221

Gait. [In acting their part] a wise [actor] should have immobile eyes looking only four cubits [in the front], a ready memory, the entire body in steadiness and he is to keep the mind at rest, to assume the marks belonging to his sect and to have modest clothes generally dyed in gark red, and to stand with the Samapada. fect and to assume the Sthana of the same name. Then he should make two Catura hands one of which is to be stretched. And assuming a serene appearance in conformity with the performance he should perform the Atikrant. (Atikrama) Cari with natural (lit. not drooping) limbs. ‘The hest ascetics of the great vow are to be con- nected with these qualitics or others contrary to them. As for the rest of the ascetices they according to the vow [enjoined by their own sccts] are to have a Gait confused or stately or sober or mild. And in case of the ascetics of the Pasupata sect they should walk

in the Sakatisya and Atikrant:. Caris with haughty steps. Gait of a person in darkness or of a blind man

87. The Gait [ofa person] in darkness or the Gait of a blind [man] should consist of the feet drawn over the ground and the hands groping for the way.

Gait of one riding a chariot

88-02. The Gait of a person riding a chariot should consist of simple (cna) steps. From the Samapada Sthiina (posture) he is to make a mimicry of the being carried in a chariot (lit. go the movement of a chariot), and with the one (hand he is to take up] the bow and with the other the pole [of the chariot], And his charioteer is to remaian busy with the whip कात्‌ the reins, and the draught animals according to the class [of the vehiele] should be represented differently. And with quick and simple steps he is to enter the stage. The Gait of onc in a celestial ear (rimana) should he made like that of one riding a chariot. One who is about to

lingam 1.८. japabhasmakaupinids (Ag.).

४ Gacched—atikramad (B. gacched vyattkramad, ©, gacched yatikramid).

87 (B.X1I.87, 6.86). ' andha-yane (B.G. read atha तर)

88-92 (B.X11.88-92, G.87-91). .

998 THE NATYASASTRA [ XII. 99.

mount [these vehicle < har this [motion] one is to make one’s dis

Gait while moving in the sky

3] is to hold his body up and with opposite of cent (from them].

92-95, The Gait of a character moving through the sky is to include the aerial Caris and looking downwards, and [besides this] one is to move [first] from the Samapada Sthina (posture) with simple steps. ‘The Gait of one who desends from the sky is also to he of this. kind. ‘This Gait is to consist of steps straight and wide or high and low, or irregular and round about.

The Gait of a person falling from the sky is to include the Apaviddha arms, scattered ends of clothes and eyes set on the ground [below].

Gait in aseending any lofty palace

(16-98. [Ina play sometimes] there is necessity of ascen- ding [stairs of] a palice, tree or hill or any other high object and descending from them or getting down into a river or some lower region and getting up from it. In ascending [the stairs of] a palace a person should move the feet in the Atikranta Cari, and with the body held up he should put forward his steps in [the flight of] stairs. Tn descending from the same, the body should be slightly bent and one foot should be in the Atikrinti Cari and the other in the Aficita movement.

98-100, This Gait suited to ascending [the stairs of] a palace should be applied in climbing hills. But in the case of hills the limbs are to be thrown up. The climbing of trees [should be represented] by steps in the Atikranta, उत्त, Apakranti and Parévakranté Ciris.

Gait in getting down into lower places

101-104. ‘This should also be the Gait in coming down [from the trees] and the same should apply in case of getting down into a river. \

92-95 (7.2 [11.99-95, G.91b-94),

96-98 (B.XII.96-98a, G.95-97). | gatram anamya (B. gatram asyaiva).

99-100 (B. X11.103-104, G.103 104).

101-104 (B.XJI.105a, 98b-101, G.98-101).

-XITI. 109 J THE DIFFERNET 64118 998

The Gait in [case of coming down from the top of] a palace ~

will apply only in crossing [a river],

The Gait of a person moving in the river will he according to the depth (lit. measure) of the water. In shallow water, with the tucking up of one’s clothes, and in the deep [water] with the throwing out of hands one is to move with the fore part of one’s body slightly bent. And in case of a person’s being carried away by the current (lit. water) he is to stretch out his arms one by one to push forward water repeatedly and during this movement all his limbs are to be busily engaged “and the mouth filled up [with water]. ‘

Gait in travelling by boat

105. The Gait of a person travelling by a boat should be made up of quick steps. According to these rules (lit. this rule) one should observe the various Gaits and movements.

106-107. All these [conveyances] are to represented (lit. made) by [suggestive] tokens (samjna) only. [If you ask] “why”, [the reply will be the question], “Will the actors (lit. producers) have to die when the character [to be represented] is said to be dead ?” The elephant will be represented by taking up a goad, the horse by a bit and the other conveyances by a whip.

Gait in riding a horse

108. The Gait of a person riding a horse will consist of the Vaigakha Sthiina and simple foot steps of the various kinds.

Gait of serpents 109. The Gait of serpents will be by the Svastika feet. [To represent it the actor] is to move in the Parévakranta Cari and then make a Recaka of the Svastika feet.

- ~~

105 (B.XIT.102a, 10570, G.102b, 1058).

106-107 (B.X11.106-107, G.105-106). 1G. reads 106b as fasman nrtla itd prokte kim kartavyam prayoktrbhih. This passage shows that use of painted scenery was not indispensible in the ancient Indian stage On this point Ag. says: तेन चिष्रपटादिवियोगेऽपि रथगममाथभिनयनं a()gaq) रौकर्यातत तत्करणमपि युक्तम्‌ ।

108 (B.XII.108, G.107). 109 (B.XI1.109, G.108).

924 THE NATYASASTRA [RITI. 110

Gait of a Parasite

110. The Gait of a Parasite (vita) should be made graceful. [An actor] is to represent (lit, go) the Gait of a Parasite by putting forward Akuiicita (Kuiicita) feet within one Tala and holding the Katakavardhamana hands with the proper Sausthava पणत्‌ letting [these] hands follow the fect

Gait of the Kajieukiya

112-113. [The Gait] of the Kéitcukiya (armour-bearer)? should be made [suitable] to his particular age and condition. When he is not old? his Gait should be as follows ; With the feet raised half a Tala high and simple steps he should walk carrying his limbs like one who is treading (lit. touching) upon mud.

114. But in case of his being [thoroughly] old he should walk with the trembling body and raise the feet slowly and with [every] step he is to take his breadth.

110 (B.XIL110, G.109). 111 (B.XIL-110, G.110).

112-118 (B.XIL112-113, &.111-112). 1 The word katicukiya (kaii- cukin) should be translated as ‘armour-bearer’ and not as ‘chamberlain’ which term should be used for sanuidhatr ; see Kautilya’s ArthaSistra (2. 4. 28). गप. (p. 292) defines the Kajcukiya as follows :

SATA ब्रह्मणञव कथुकोषीपेविणः। आआानविज्नानसमपन्ना कष्ुकौया WaT वुधैः ॥

(Passionless Brahmins who have knowledge and wisdom being in charge of (the king’s) armour and crown, and holding the canc-stick (as symbol of their authority), are called Kaneukiyas by the wise).

2 a-wrddhasya, This adjective of the ahcukiya contradicts the

following (probably very late) definition: अन्तःपुरचरो eat विप्रो गुणगणन्वितः। मर्वकायाधक़ गलः कशुकौलाभिधीयते ! जगरवकल्ययुलीन विशेद्‌ गावे क्चकौ । This passage has been wrongly ascribed to Bharata in Rucipati’s commen- tary to the Anargharaghava (ed. in Kavyamala, p.109). The aicukiya in the plays aseribed to Bhiasa (¢.¢. Svapna, Pratima, Abhi. Pajica. Diita. and Bala.) does not show any trace of old age. The kahcukix in the Sak. deplores that the eane-stick which he had taken up as the symbol of his office, has become in old age the support of his body whieh he could move with difficulty (V.3.). From this it may be assumed that he was appointed before old age came upon him.

144 (B.XIL. 144, G113). २ Por an old Aatckin soo Sak. 106, cit Mudra, I, ८, 9, and 111. 1.

-XHI. 128 J THE DIFFERENT GAITS 226

Gait of emaciated, sick and fatigued persons

115-117. The Gait of an emaciated person should consist of slow steps. And in case of an attack of fever or other illness, or of fatigue due to austerities, or hunger, a person is to walk with lean and depressed belly, feeble voice, depressed cheek, lusterless eyes, slow movement of the hands and the feet, tremor and affliction of the limbs and with [every] step he is to emit breath.

Gait of a person walking a long distance

11४. The Gait of a person walking a long distance is to consist of slow steps, narrowing of limbs and the rubbing of the knees,

Gait of a corpulent person

119. A corpulent person is to walk with the feet raised slowly and he is to drag on his body with great effort.

120. A person going with[hurried] steps should be copiously breathing, and be covered with perspiration due to fatigue and his steps should be simple.

Gait of intoxicated persons

121, The Gait of persons with light (lit. young) and medium intoxication will be reeling, with the two fect [sometimes going] backwards,

122. The Gait of persons heavily (lit. worst) intoxicated will consist of unsteady fect, reeling body and staggering steps.

Gait of a lunatic

123-130. The Gait of a lunatic will consist of irregular steps, many Ciaris in imitation of [various types of] men. He has unpolished and dishevelled hair and body covered with dust ; he talks without any reason and talks too much in an unnatural

115-117 (B.XIL.115-117, G.114-116),

118 (B.XII.118, G.117),

119 (B.XIL.119, G.118). 120 (B.X11.120, G.119). 121 (B.XIL.121, G.120). 122 (B.NIT.122, G.121). 123-130 (B.X1I,123-180, G.122-129),

29

226 _THE NATYASASTRA [ XIN. 131.

manner ; sometimes he sings and sometimes laughs and is not ready to accompany [any one]; and he [sometimes] dances in joy and [sometimes makes drumming [with any object he may find before him], Orce he runs swiftly and at other times stands still ; {again] sometimes he is seated and sometimes lying down. He is to wear rags of different kinds and to make the public road his irregular dwelling place. A lunatic will he of the above description dit. this man). His gait will be as follows :

After moving in the Baddha Cari he is to cross his feet. The) going round in all the four direction with this Cari he is to perform the Bhramara Mandala outwards and reach one corner of the stage. Then turning the Trika gracefully and holding the Lat hand with irregular movements he is to move with his feet.

Gait of lame men, cripples and dwarfs

131-136. The Gait of lame persons, cripples and dwarfs in connexion with the display of physical defects for the sake of the Comic Sentiment, will he of three kinds. Tn one [kind of | Gait of lame persons the feet are to remain stiff. Tn the second one, fect are to be made Agratalasaiicara and the hody is to held up (lit. raised) by the stiff foot. [And in the third] the body is to move on one foot, and to rest on another foot and setting fect in this order [the lame men] are to go. This will be one’s Gait when one has run a thorn in the sole of one’s foot. The Gait of cripples will consist of the Agratalasaiicara and the (तोलय, feet, the steady body and the Nata shanks. During the Gait of dwarfs all their limbs are to be narrowed down and they should neither move [quickly | nor take [wide] steps.

Gait of the Jester

137-140. The Jester will have the same Gait consisting of simple laughable steps with feet raised high (and put forward}, And his Gait will relate to three kinds of laughter: laughter due to

hee

181-136 (B.XII.131-136, G.130-135a). | For ¢rivdha G. reads vividha and omits 138b. "५

187-140 (B.XIL.137-140,, G.135b-138). } For पष्क 2.0. read hanyakrta,

-X.ITL 146} THE DIFFERENT GAITS 227

limbs, due to words and due to the costume and make-up. Of these the ugly and big teeth, baldness, hunch on the back, lameness and, distorted face will be objects of laughter due to limbs. When one walks like a crane looking up and looking down and with wide strides, this too becomes an object of langhter due to limbs.

140-141. ‘Talking incoherently, meaninglessly, unnaturally ` and uttering obscene words are to be known as [objects of] laughter due to words.

t£1-142, A person covered with tattered clothes or skin,

or smeared with ink (or lump-black), ashes or yellow ochere is [an object of] laughter due to the costume and make-up. Hence the [Jester] after considering the characters [he will be con fronting} should carefully (lit. essentially) assume [one or more of] these states, । 143-146. The Gait of the Jester should be distinguished according to his different conditions. [For example| in his natural Gait he is to carry the Kutilaka (कृत) in’ his left hand पात्‌ to show the Catura (gesture) with the right hand. Besides this he is lower by turns one of his sides, head, hands and fect observing proper tempo and Tala. ‘The Gait other than this which is natural, will be abnormal. His Gait on having some food which was difficult to get, will be arrested.

Gait of the menials

146-148. The Gait to represent the walking of servants of lower order or other persons of the inferior type should be as follows : in the walking of servants, one of their sides or head or a hand or a foot is to be lowered and their eyes are to move to [difterent] objects. ५

9 For vakavat G. reads Ahagavad.

140-141 (B.XIL-140b-141a, G.139). 1 For vakvehasyam B.G. reads kavyahasyam. ;

141-142 (B.XI1.141b-142, G.140-141a).

143-146 (B.X11.143-146a, G.141b-144). 1B. reads 1468 as alabhalabhad bhuktasya ete.

146-148 (B.XII.146b-147, G.145-146).

[१

228 ‘THE NATYASASTRA (XIII. 146. Gait of the Sakra 148-149. The Gait of the Sakara_ will consist of proud but ordinary steps, and while walking he will touch his clothes and ornaments and often look at them, and from the unnatural motion of his body his garlands, and suspended parts of the clothes are to move to and fro. ‘

Gait of lowly persons

150. Persons of inferior birth are to walk with eyes looking around, protecting their limbs from the contact of other people.

Gait of the Mlcecha tribes

151. The Gait and movements of the men of different Mleccha tribes such as the Pulindas and the Sabaras should be made according to the lands they inhabit. :

Gait of birds

152. The Gait of birds, beasts of pray and other animals is to be made according to the character natural to them.

Gait of lions, bears and monkeys

153. The Gait of lions, bears and monkeys is to be made [like that] which was assumed by the lord Visnu incarnated 95 the Man-lion. [Tt is as deseribed below],

154-155. [In this Gait] after acsuming the Alidha Sthana (posture) with limbs conforming to it, that is, one hand on the knee and the other on the breast, one is to look all around and put one’s chin on one’s shoulder and to walk with feet placed five *Talas apart.

156. The Gait should be applied to [represent] lions and such other animals at the time of personal coinbat as well as in entering the stage.

148-149 (B.X11.149-150a, G@.147) 1 ©. omits 1419. 150 (B.XIL.150b-151a, G.148), 151 (B.XII. 151b-152a, G.149). 152 (B.XII.152b-153a, G.150). 153 (B.XI1.153b-154a, G.151). 154-155 (B.XTI.154b-156a, G.152-153), ‘156 (B.XIL.156b-157a, G.154). ' Lions te. here indicate actors with the mask of these animals. '

-XIII. 165 ] THE DIFFERENT GAITS 299

157. As for the rest of animals the Gait and the Sthana (posture) for them when entering the stage or carrying any one or anything on the back should be made suitable to the occasion,

158. These [different] Ciaits are thus to be used by wise factors}. The Gaits that have not been described by me, are to be adopted from [the practice of] people.

Walking postures of women

159-160. I shall now speak of the Gaits and movements of women. The Sthiana (posture) of women in walking and speaking [to others] will be Ayata, Avahittha and Asvakranta.

160-161. Ayata: Inthe Ayata Sthina (posture) the right foot will be Sama, the left (lit. the other at-the side) foot Tryagra (obliquely placed) and the left waist raised.

161-164 (Uses): This Sthina is to be used in invocation, dismissal, observing carefully, thinking and dissimulation. And first appearance on the stage, scattering handfuls of flowers on the stage, anger duc to jealous love, twisting the forefinger, prohibition, pride, profundity, silence, fit of resentment (mana) and looking to the horizon are also to be represented from this Sthina?.

161-165. Avahittha: Thoeft foot will be Sama and the right (lit. the other at the side) foot ‘Iryagra (obliquely placed) and the left waist raised up.

165-167. (Uses): This Sthina is known (lit. remem- bered) as natural for women during conversation [with anyone], in determination, satisfaction and conjecture [1 representing

157 (B.XII.157b-158a, G.155). 158 (B.XII.158b-159a, G.156).

159-160 (B.XII.159b-160, G.156c-157). ' B. reads five additional hemistichs after this,

160-161 (B.XII 163b-164a, G.158).

161-164 (B. XII.164b-167a, G.159-161).

164-165 (B. X11.167b-168a, G.162) ' B.G. read two additional coup- lets after this. | ,

165-167 (B.XL.171b-172a, 1709 171a, G.165-166).

280 THE NATYASASTRA { XIII. 167-

anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sthana is to be used.

167-168. Aégvakrinta: The Sthina in which one foot is raised and the other is resting on its fore-part and [ready for] the Siici or the Aviddha Cari is called Aévakranta’.

168-169. (Uses): This Sthina is to be assumed in taking hold of the branch of a tree, plucking a cluster [of flowers] or in the takiny of rest by goddesses or women for any purposes.

169-171. The Sthina will be {maintained by a dancer] till any movement begins. For during a dance the Sthana is at an end when the Cari has begun (lit. is present). This is the rule of the Sthana for women and for men as well. T shall now describe women’s Gait in relation to their nature.

Gait of young women

171-176. [Such a Gait will serially include the following Sthana and movements}: The Avahittha Sthina, the left hand pointing downwards, the right hand with the Katakiémukha gesture placed on the navel, the right foot raised gracefully up one Tala and thrown on the left one and simultancously with that the left hand with the Lata gesture placed on the navel and the right side bent, placing the right hand on the hip and the Udvestita movement of the eit Lund, then the left foot put forward, the right hand with the Lata gesture, [After ussuming this Sthiina and movements] they are to walk five steps with the body slightly bent and the head gracefully held in the Udvihita posture.

176-177. The rules for going about on the stage which have been prescribed for men will apply also for women.

+ 167-168 (B.X11.172b-173a, G-167). 1 B, reads two additional coup- lets after this.

168-169 (B.XIL.175b-176a, G.168). 169-171 (B.XIL.176b-178a, 0.109.170). 171-176 (B.XIL-178b-183a, G.171-175). 176-177 (B.XIL.183b-184a, G.176),

-XIII. 184 ] THE DIFFERENT GAITS 231 Gait of young women

177-179. The steps of women should not be made of six or eight Kalas duration. Such a step will he irksome for them. This will be the Gait of women in their youth. T shall speak [now] about the Gait of women who are aged (तकत.

Gait of aged women

179-181. After assuming the Avahittha Sthana and putting the left hand on the waist and the right hand with the Arala gesture upturned, placed between the navel and the breasts, they are to walk gradually with their body neither relaxed nor stiff nor {much} moved about. ; :

Gait of handmaids

181-183. The Gait of hand-maids should be made bewil- dered (wdhhianta). They are to walk with slightly raised body and flourishing arms, after assuming the Avahitta Sthana with the left hand pointing downwards and the right hand showing the Katakimukha hand held on the navel.

Gait of half-women

183-184. The Gait of the half-women, an admixture of that of men and of woman will consist of stately but graceful movement of limbs and playful steps (lit. feet). ,

184-186. The time required for the Gait which has been prescribed for persons of the superior type will be halyed in case of women and the inferior types of men. And the Gait [prescribed for persons] of the superior, the middling and the inferior types will apply in case of women [of those types] except for the foots- teps which will be graceful [for the latter.

177-179 (B.X11.184b-186a, G.177-178). ' BG. read sthaniya yt striyas tasim tor sthaviyasinam elasim. The word sthaviyas may well be a comparative degree form of sthavira. Cf. daviyas for dra, = ^

179-181 (B,X11.186b-188a, G.179-180).

181-183 (B.XII.188b-190a, G.181-182).

183-184 (B.XII.190b-191a, G.183).

184-186 (B.XIL.191b-193a, G.184-185).

932 ` THE NATYASASTRA [ XIII. 186-

। Gait of children

186-187. The Gait of children will be according to their will and no Sausthava and [fixed] measrement will be required.

Gait cf hermaphrodites

187-188, The third type of persois will be hermaphrodites in whose case women’s Gait to the oxclusion of their [partial] male character, should be applied.

Gait in the change of role 188-189. A change |of their role] by men, women and hermaphrodites should be represented by assumption on their part of Gaits suitable to those [new roles] to the exclusion of their own «. [original] character.

Gait of persons in disguise 189-191. For disguise, sports or deception [of others] a woman assumes the role of a man, and a min that of a woman. [In such cases] the woman should play the role of a man with patient and liberal spirit and intelligence, and with acts as well as dress, words and movement suitable to that {character],

191-192. 10 play the role of a woman a man is to wear her clothes, speak like her and look at things and abstain from looking at these as she does, and is to assume a delicate and slow Gait.

* Gait of the tribal women 192-193. Women of inferior birth and of the Pulinda and the Sabara tribes are to have Gaits natural to their community.

Gait of women ascectics

193-194. In case of observing ४ vow or practising austeri- ties or bearing the mark [of religious sects.] or staying in the sky the Samapada Cari is to be used [as their Gait].

ce 186-187 (B.XIL.193b-194a, 06.186), 187-188 (B.XII.194b-198a, G 187). 188-189 (B.XII.195b-196a, G.188). 189-192 (B.XII.196b-1991, U-.189-191). 192-193 (B.XII,199b-200a, G.192), 198-194 (B.X1L.200b-20 La, 0.19).

-ष्णा. 199} ~ THE DIFFERENT GAITS 2338

194-195, An expertin dramatic art should not assign the energetic Angaharas, (दतः and Mandalas to women.

Sitting postures for men and women

195-199. Sitting posture, (sthana) for men and women should be made conforming ‘to (lit. combined with) the different States which they are in, and similar should be their postures while in bed.

Sitting at case

196-197. In sitting at ease the two feet are at rest (viskam- bhita) and kept doubled up (कम), the Trika is slightly raised, and the two hands are put on the thighs on the two sides.

Sitting in a thinking mood

197-198. When a person is to assume [deep] thinking, [from the easy sitting posture] he is to stretch slightly one of his feet, and the other foot is to rest on the seat and the head is to bend on one side.

Sitting in sorrow 198-199. When a person is in [deep] sorrow, [from the easy sitting posture] he is to put up his hands for supporting the

chin, or his head is to rest on the shoulder, and he is [to look like] one whose mind and the sense-organs are not working (lit. lost).

Sitting in fainting and intoxication

199-200. When a person is fainting or is intoxicated, tired, weakened or sad, (from the easy sitting posture] he is to stretch his arms loosely and to sit depending on [some] support.

194-185 (B.XI1.201b-202a, © .194).

195-196 (B.XT1.202b-203a, G.195).

196-197 (BeXI1I.203b-204a, G.196).

197-198 (B,X11.204b-205a, G.197).

198-199 (B.XIT.205b-206a, G--198).

199-200 (B.XI1.206b-207a, @.199), 30

984 THE NATYASASTRA [ XIII. 200.

Sitting in shame and sleep ete.

200-201. When a person is ill, ashamed, asleep or in meditation he is to lump together his limbs between legs and knees.

Sitting on ceremonial occasions ¢ 201-202. In offering a libation of water to the spirits of diseased parents, muttering of Mantras, saying the Sandhya prayers and making Acamana, one ix to assume the sitting posture with the hump raised, in which the hip and the heels come together.

Sitting in pacifying a beloved woman

202-208, In appeasing [the anger of] a beloved woman and pouring ghee into the sacrificial fire and doing similar other acts, a person is to put one of his stretched kuees on the ground [from the sitting posture mentioned above}.

Sitting in worshipping a deity

903-206. Downeast face and the sitting posture with the two knees on the ground (i, knecling down) is to be assumed in adoring a diety, pacifying the angry [superiors], bitterly erying for sorrow, secing a dead body, the fear of persons of low spirits, the begging of something hy lowly persons and servants, and, attendance during the Homa and the sacrificial work. Asceties (muni) while practising austerities are [also] to assume this sitting posture (lit. rule about sitting).

Scats for different characters

206-207. Now the seats (lif. rules regarding the seats) for males and females in a drama are twofold : publie (bahya) and private @hyantura), [These two terms] public and private relate to the royalty (lit. the king),

200-201 (B.XIL-207h-208a, 6.200).

201-202 (B.X11.208b-209a, G.201).

202-203 (B XII.209b-210a, G.202),

, 208-206 (B.X1T.201b-213a, 203-205), 206-207 (B.XIL.213b-214a, G.206),

-XIII. 216 J THE DIFFERENT GAITS 235 Scats for male characters

208-210. O Brahmins, gods and kings are to be given the Lion-seat (i.c. throne), the priests and the ministers the cane-seat, the commander of the army and the crown-prince the Munda-seat, the Brahmins the wooden seat and the other princes the carpet-seat, ‘This rule of seats should be observed 70 the royal court.

Seats for female vharacters

210-214. T shall now speak of the rule of seats for women. The chief queen should be given the Lion-seat, the female relatives and wives of the king other than the chief queen the Munda-seat, the wives of priests and ministers the cane-seat, the concubines [of the king] the seat consisting of cloth, skin or carpet, the wives of Brahmins and female ascetics the seat made of wood (pattd), the wives of Vaigyas the seat of pillow (cushion), and for the remaining women the ground will be the seat. So much about the rule of seats in the inner appartments as well as in public places, While residing in one’s own house one can take any seat according to one’s liking.

Seats for ascetics and sectarians

215. The seats for the ascetics should be according to the rules [of the order] they are observing. For the members of different sects with special marks the seats will be according to their vows.

216. While pouring ghee into the sacrificial fire or doing the sacrificial duty in general or offering a libation of water to the departed parents one is to sit on a Vrsi‘, Mundi-seat or cane-seat.

208-210 (B.XII.214b-217a, G.207-210a), 1 A cane-chair.

2 mundasana is probably nothing other than Bengali moda.

210-214 (B.XII.217b-221, G.210b-214).

215 (B.X11.222, G.215). | Kor. example, some have tiger-skin as their seat, some dcer-skin or a piece of woolen blanket.

216 (B. X11.228, G.216). 1 a seat made of kuSa grass (Apte).

THE NATYASASTRA [ XIU. 9. General rules about seats

217, Other local people (sthaniya) who are of [high] hirth

and possess [great] learning should be honoured by the king hy

[an offer of suitable] seats.

218. To his equals he (८ the king) the is to offer seats equal in height to that of his own, to persons of medium importance, the seats of middling height, and to persons who are superior to him, should be given a more elevated seat, while the lowly persons are to be seated on the ground.

219. Before the preceptor, the king or the spiritual guide (guru) wise persons are to sit on the ground or on an wooden seat:

220. Sitting together with the spiritual guide, the preceptor or the king in a boat, on an elephant or ina chariot, is allowed (lit. not to be objected to),

Lying-down postures

221. Postures in the bed are known (lit. proclaimed) as Akuiicita, Sama, Prasirita, Vivartita, Udvahita and Nata.

222. Akuiicita : Lying down with limbs narrowed down and the two knees sticking to the bed is called the Akuncita posture. It is to be used in representing persons attacked with cold.

223, Sama: Lying down with the face upwards and the hands free and turning downwards is called the Sama posture. Tt is the posture in deep sleep.

224, Prasdrita: Lying down with one arm as the pillow and the knees stretched, is called the Prasirita posture. It is to be used to represent one enjoying a sleep of happiness.

225. Vivartita: Lying down with the face downwards is called the Vivartita posture. It is to be assumed in [representing ,

217 (2.1.294, G.217). 218 (B.X11.226, G.218). 219 (B.X11.226, G.219), 220 (0.711.227, G.220). 221 (7.1.208, G.221). 228 (B.XI1.229, G.222).

228 (B.XTI 230, G.228). 224 (7,11.891, ७22५). 225 (8.211.932, G.225). ५

-XIII, 228 ] THE DIFFERENT GAITS 237

wound from any weapon, death, vomitting, intoxication and

lunacy.

226. Udvahita: Lying down with the head resting on the hand and making a movement of the knee, is called the Udvahita posture. It is to be used in sports and on entrance of the muster,

27, Nata: Lying down with the legs (lit. shanks) slightly stretched and the two hands loosely resting is called the Nata posture. It is to be used in laziness, fatigue and distress.

228. ‘This is the [rule of] Gait and movements I was to tell you. Whatever remains unsaid should be devised accord- ing to the demand of circumstances, I shall hearafter speak about the division of the stage into Zones in connexion with going

about on it.

Here ends Chapter XII of Bharata’s Natyacastra which treats of the Gaits and other Movemeuts.

226 (BN 11.39, 6.224), 227 (BNIL2 04, G.227). 228 (B.X1.235, G,228).

CHAPTER FOURTEEN THE ZONES AND TIE LOCAL USAGES NTC.

1. One should fix the Zones [of the stage] after knowing the division of the three [kinds of] playhouse, that have been inen- tioned before by me.

The arrangement of drums

१, The producer [ofa play] should arrange the drums k 4 > between the two doors of the षह room, which 1 have deseribed before. The Zonal division

ॐ. The Zonal division’ is to be indicated hy going about on the stage. [When one isin a particular] Zone [of the stage, it] will change [lit. be another] with his walking out of it.

Utility of the Zonal division

1-6. [It is] from the (eonvention of | the Zonal division that one is to know [whether the place in which the scene has been laid] is a house, a city, a garden, च pleasure resort, a river, a hermitage, a forest, the earth, the sea, [any part of] the Three worlds, any one of the Seven great divisions of the earth or its continents, any of the different mountains, the sky (lit, light), the [surface ot the] carth or the nether world (rasatalu), the places of rest, cities or palaces of the Daityas?.

7. The Zones should be fixed with reference to places such as it city, a forest, a continent or a mountain in which the scenes have been laid (lit. the event occurs),

1(BXDLL 6.1). 3 See NS, IL. 68

2 (B.XIL.2, G2), ह

3 (B.XIIL3, 6.9). ' As modern devise of the change of scenes was absent in the ancient Hindu theatre, the convention of the Zonal division indicated the locality in which different characters met.

A-6 (B.XU4-6, 6.4-6), | B. reads dattyanagalayas for dattyanim alayas. 7 (B.XILL?7, G.7),

XIV. 16] THE ZONES & THE LOCAL USAGES 289

Indicating relative location

8. [The Zonal] division should relate to location inside, outside or in the middle and to a place far or near.

9. According to the convention of the Zonal division those who have entered [the stage] earlier, should be taken as being inside [a house], while those entering it later are to be known as remaining outside it.

10. He who enters the stage with the intention of seeing them (i, ८, those entering earlier) should report himself turning to the right.

The east on the stage

11. The direction which the drums and the two doors of the tiring room face, should always be considered as the east [प course of the dramatie performance.

The rule of exit

12. Tf any person will go out from the place (lit. there ie. inside the house) on any business he is to make his exit by the very door he used when entering’.

13, Tf after going out he is to re-enter that house he will make his exit [if neceseary| by the door through which the men [who enter later] came.

14-15. Tf out of necessity he goes along with latter, [re- | enters the house with the latter, or by himself alone, another Zone should be prescribed for the two. This other Zone will be indicated by their [order in] walking.

JIndication of rank in group walking

16. With the equals, one ix to walk side by side and with one’s inferiors one is to walk surrounded [by the latter], and hand- maids are to be known by their walking before [the master].

8 (B.X1IL.8, G.8). 9 (B.XTIL9, G.9). 10 (B.XIIL10, G10). 11 (B.XIIL1, 6.11).

12 (९. श्वा.12, 6.12). 1 B. reads the couplet differently.

13 (B.XILL18, 6.13). 14-15 (8111 14, 6.14),

४

240 THE NATYASASTRA [ XIV.17- -

Indicating distance great, small and medium

17. The same place if much walked over will be taken as adistant land. And near by lands or lands of medium distance are to he indicated likewise (in the same principle)?.

Movement of gods and demigods

18-20. According to the various needs of the plot (lit. play) gods and demigods are to move to cities, forests, seas or mountains through the sky, by an aerial car, by their occult power or by different other acts. But while in disguise ina play they (i. ९ gods and demigods) are to move on the ground, so that they may be visible like human beings (lit. through human causes)!.

Movement of men in Bharatavarsa

21. The gods and demigods can at their will move to any of [the nine] divisions [of the Jambudvipal, but it is préscribed that men are to move in Bh*rata [varsa] (India) alone.

Departure for a distance place

2४, [fa person departs on business to a distant place this is to be indicated by closing the Act (with his departing} and mentioning again this fact in an Introductory Scene (pravesaha).

Time allowed for the events of an Act

23. To indicate the attainment of an object one is to traverse a measure of distance. But in ease of failure in’ this matter (lit. in non-attainment of the object) the Act should be brought to an end.

24. [Incidents in a play occurring णि] a Ksana, a Mihurta, a Yama and a day are to be accommodated in an Act in pursuance of the Germ (षप) [of the play].

25. Buta month ora year is [to be considered] finished with the end of an Act; and events occurring more than one year after, should not be put in an Act.

16 (९.1.16, 6.16). 17 (B.XJIL17, 6.17). |} For an example of this see Uttara I.

18-20 (B.XITI.18-20, G,18-20).! B.G. add one couplet after this.

$1 (B.XIIL21, G22). 22 (क. 0.23). 23 (B.X1T.24, 0.24. 24 (९.1.95, 0.95). % (0.1.26, 0.96).

£ “XIV. 86] THE ZONES & THE LOCAL USAGES 241

26. The Zones of the stage (and allied conventions] con- cerning the movements of men are thus to be observed in a play in aonnexion with Bharatavarsa (India). Now listen about that of gods and demigods.

27-32. Yaksas, Guhyakas, the followers of Kuvera, (lit. the giver of wealth), Raksasas, Bhiitas and Pigfcas who live on the best mountain Kailésa inclutled in the Himalayas, are known as dwellers of the latter mountain. Gandharvas, Apsarasas and Ganas are known to live on the Hemakiita. On the Nisadha live all the Nagas (serpents) such as Sega, Visuki and Taksaka. The thirty-three groups of gods dwell on the great Meru, and Siddhas and Brahmarsis on the Blue [Mountain] full of lapis lazuli. The White Mountain is the abode of Daityas and Danavas, while Pitrs resort to the Srigavat [mountain]. ‘These are the best moun- tains where gods and demigods dwell. With reference ot the Zonal division they should be [placed] in Jambudvipa [where these mountains exist].

“ Movements of gods

32-35. Their exploits should be represented (lit. made) according to their habits and powers, but their costumes and make- up should be like that of human beings. All the conditions of gods are to be made human. Hence they should not be represented (lit. made) as winkless [which they traditionall, are], For the States and the Sentiments [ina play] depend on Glances, And the States are [first] indicated by Glances and. then represented by gestures and postures (lit. by limbs). This is all about the Zonal division.

The four Local Usages

36. T shall now resume the description of the Local Usages (prarrtti) which according to the experts in drama are four: Avanti Daksinaty?, Paiicali and Odhra-Magadhi’. =

26 (B. XTIL27, 6.97). 27-32 (B.XII.28-33a, G.28-33).

32-35 (B.XILL33b-36r, G.35-37a). 1 For ९ karyam B. reads 2a karyam. .

36 (B.XIIL36b-38, G.37h-38). 1 The passage following this till the beginning of 37 is in prose.

31

242° THE NATYASASTRA [ XIV. 37

(Now comes the question]: Why is [it called] pravrtit (report) [of the Local Usages]? [In answer to this] it is said that pravytti is so called because it informs [one] about the Local Usages regarding costumes, languages, manners शात्‌ professions in different countries of the world. Vrtti and pravytit mean “nformation’, There are many countries in this world. Hence it is asked, “How a fourfold division of these (i. the four pratrttis) [can be] proper? And an observance of all these pravrttis possess [some] common characteristics.” [प reply] it has been said, “It is true that their observance has [some] common characteristics; but as people have different native countries, costumes, languages and manners, I have prescribed a fourfold classification of the dramatic performance which is attached to four different Styles according to the preference of [different] people. [Hence] countries are connected with the performance which, relate to the Styles such as the Verbal (bharatt) the Grand (sattraii), the Graceful (kaisiht) and the Violent (arabhatt). And from these |countries] arise the four pravrttis (Local Usages) and also the [entire] performance including them.

The Daksinatya Loeal Usage

Now [it is said] in that connexion (lit. there) that the Southern [countries] favour various kind of dances, songs and instrumental music, an abundance of the Graceful (kaigiki) Style and clever and graceful gestures. ‘They are as follows :

87 Countries adjacent to mountains named the Mahendra, the Malaya, the Sahya, the Mekala and the Kalapaiijara?, are known as the Diksinapatha (Deccan).

. 38-39 [But] Kosala, Tosala, Kaliiga?, Yavana, Khasa, and countries like Dramida, Andhra, Malvrastra?, Vainna and Vana-

37 (B.XIIL39, 6.89). ' Kalapa jara seems to be same as modern Kali.jara (=Kalapi jara); pijara is a variant of panjara; see Paia-saddamahannavo, sab voce.

88-39 (B.XI11.4%-41, G.40-41). * Sce note 1 to 43-45.

* * Andhra-Maharastra may also be taken‘as the name of the great Andhra empire (mahé-rasira),

XIV. 46] THE ZONES & THE LOCAL USAGES 243

vasika which lie between the Southern Ocean and the Vindhya [mountain] are always to take to the Diksinatya Local Usages®.

The Avanti Local Usage

40-41. Avanti, Vidisa, Saurastra, Malava, Sindhu, Sauvivra, Arvudeya? Dasma, Tripura, and Mrttikavat always take to the Avanti Local Usage?.

42. The performance [of a play] by [people of] these [coun- tries] should depend on the Grand (sattvati) and the Graceful |kaisihi] Styles and [such a procedure] should be adopted by the producers.

The Odhra-Magadhi Local Usage

43-45. Eastern? [countries such as] Anga, Vanga, Kalinga?, Vatsa, Odhra (Odra), Magadha, Pundra, Nepala, Amtargira, Bahi- rgira, Playamgaima, Malada®, Mallavartaka,* Brahmottara,® Bhar- gava,® Margava,’ Pragjyotisa, Pulinda, Videha and Tamralipta, adopt the Local Usage known as the Odhra-Magadhi.

46. In relation to other countries too known in the Puranas as belonging to the East the Odhra-Magadhi . Local Usage is applied.

3, Geographical names mentioned in this passage and the passages that follow, are mostly to be met with in the Puranas (sometimes with variant readings). For a discussion on the same see Dines Chandra Sirear, “Text of the Puranic Lists of Peoples’ (HQ. Vol. XXI. 1945 pp. 297-314).

40-41 (B.X111.42-43, G.42-43). ' Arvuda or modern Abu in Raj- putana is probably meant by this name.

42 (85.11.44, G.44).

43-45 (1. 11.45 -47, G.45-47). | B. pranga pravrttayah.

2 he twofold mention of Kalinga requires an explanation. [६ is possible that the two different Usages were current in this region.

> Malada be may modern Maldah Distriet of Bengal.

+ Mallavartaka may be modern Maliabhum (Bankura in Bengal).

5 For Brahmottara see Visvabharati Patrika, Vol. IV. pp, 250ff.

५ Bhargava remains unidentified,

Margava remains unidentified.

46 (B.XIII.48, G.48).

244 THE NATYASASTRA [ XIV. 47-

The Pajicdla-Madhyama Local Usage

47-48, Countries such as Paiicia, Siirasena, Kaémira, Hastinapura, Valhika, Sikalal, Madra and UsSinara which are contiguous either to the Himalayas or to the Northern bank of the Ganges, take to the Pficila-madhyma Local Usage.’

49. In this Usage the Grand (sattvati) and the Violent (ardbhati) Styles are known [to predominate]. ‘The application of these [means] paucity of song and excessive movement «and extraordinary Gaits and steps.

The twofold entrance in observing Local Usages

50. Going about on the stage in [observing] Local Usages, will be in two ways, viz. by entering from the right and by entering from the left.

51. In the Avantiand the Daksinitya Local Usage the going about [on the stage] will be from the right, and in the द्रव्या and the Odhra-Magadhi it will be from the left.

52. In case of the Avanti and the Daksinatyi’ 1.06 Usages the door to be used in entering should be the Northern one, while in case of the Paiicali and Odhra-Magadhi Local Usages the Southern door should be used

a3. But in view of the special assembly, place, occasion and expression of meaning these rules may be combined (lit. be made into one).

54, Experts should apply to plays the Local Usages which have been prescribed before for different countries

55. In musical plays (yanakadi) these miles should be simplified. One should produce them (lit. practice those acts) in disregard of the multiplicity of Local Usages.

47-48 (B.XIII.49-50, G.50-51). 1 The reading Salyaka of some mss. may be a variant of Salvaka. As in the Puranas an expression like 3aloah Sakalavasinch is met with. Salvas or Salvakas might have been the name of a tribe residing in the ancient Sakala region

49 (B.XII1.51, 6.49) 50 (B.XIIL.52, G.52)

, ४1 (B.XIIL.53, G.53). 52 (B.XTIL54, 6.४4). 58 (B.XIIL5S, G.55). 54 (B XHIL56, 6.56). 55 (B.XIIL5?, G.58).

XIV. 63] THE ZONES & THE LOCAL USAGES 245

The two general types of plays

56. The production of a play in conformity with the rules of dramatic practice is’ of two types: delicate (suhumare) and violent (@viddhu).

The violent types

57-58. ‘The play which requires violent (@ri/dha) gestures and movements (anyaharu) to represent, cutting, piercing and challenging, and contains the use of magic wad occult powers as well as artificial objects and make-up, and has more men and less women [among its “ramatis persvace} and applies|in its production] mostly the Grand and the Violent Styles, is of the violent type.

59. According to the [expert] producers, [plays of] the Dima. thes Samavakara, the Vyayoga and the Lhamrga [classes] are known to be of the violent type.

60. Production of plays of this type should be made by [an impersonation of] gods,” Diinavas and Raksasax who are majestic and haughty, and have herorism, energy and strength.

The delicate type

61. The Nataka, the Prakarana, Vithi and the Aaka are plays of the delicate type, and they depend [for their production ] [on an impersonation of] human beings only-

The two Practices

62. I shall now define (lit. relate the characteristes of) the

two Practices (dhavm.) which have been mentioned before.

The realistic Practiec

«

63-64. If a play depends on natural behaviour [in its characters] and is simple and not articial, and has in its [plot]

56 (B.XTI5 9 ; G.59) 57 (B.XIII.60-61, G.60-61). 59 (B.XIL1.62, G.62). 60 (B. XII 63, 6.63).

61 (१,11.64, G.64). |! ए. adds five additional couplets after this.

62 (1. XILL70, 6.68). } For a discussion on Dharmis see V. Ragha- van, Natya Dharmi and Loka Dharmi (Idealism and Realism of Bharata’s Stage), Journal of Uriental Researches. Madras, Vol. VII. pp. 359-875.

68-64 (B. XIII.71-72, G.66-67), `" See note 1 to IX. 1-3,

246 THE NATYASASTRA [ XIV. 66-

professions and activities of the people and has [simple acting and] no playful flourish of limbs and depends on men and women of different types, it is called realistic (lohadharmi)*.

The conventional Practice

65-66 Tf a play contains specch, activity, beings and states of the extraordinary kind, and requires acting with playful flourish of limbs and possesses characteristics of dance, and requires conventional enunciation, and is dependent on emotionally carried persons (lit) characters it is to be known as conventiona| (natyadharmi).

67. If anything used by (lit. among) people, appears (lit. set foot)? ina play (lit here) as endowed with a corporal from and speech? the practice is [also] called conventiénal (watyadharmi)s.

68. [The practice in a play according to which persons are supposed] not to hear words uttered in proximity, or to hea what has not been uttered at all, is [also| called conventional.

69. If objects like a hill, conveyance, aerial car, shield, armour, weapon or banner-staff are made to appear on the stage (lit. are used) in [human] form, it is known as an [instance of] the conventional Practice.

70. Tf after appearing in a role, one assumes a different role {in the same play], on account of his being an expert in both the cases or being the sole actor available for both the roles, it is known to be an instance of the conventional Practice. ‘

71. If after a person has been employed (lit. being) in the role of a woman for whom marital connexion with a particular character is forbidden by the Sastras, is made to appear in the

65-67 (1.111.475, 6.70). 1 padam G. reads bhadram.

+ murtimat sibhobhisam (B. mirtimat sabhilasam).

3 An instance of this is the personification of the Bhramasapa in Mayapuspaka (Ag.).

68 (B.XIIL76, G71). | For asannoktam, G. reads atroktam carva.

69 (B.XIII.77, 6.72). }G. omits two couplets (70 and 71) after this, ` 70 0.1.78) 71 (B.XTIL79).

XIV. 78 J THE ZONES & THE LOCAL USAGES 247

role of another woman with whom such connexion is permitted, it becomes an instance of conventional practice. The same will be the result if the situation in the above case is reversed.

72, That, [in a play instead of simple walking] one dances or goes with graceful movement of the limbs as well as with similarly made steps is known as conventional Practice.

73. Tf the [ordinary] human nature which has acts of joys and sorrows as its essence (lit. soul) is represented by (lit. combined with) [special] gestures it becomes [an instance ज] the conventional Practice.

74. The Zonal division which includes (lit. depends on) many rules, is also [an instance of] the conventional Practice

28. A play should always be produced with the conven« tional movement (of limbs], for without the [use of] Gestures [by the actors] no pleasure occurs [to the spectators].

76. All the States are natural to all [persons] and all the gestures [in connexion with them are used] from necessity (arthatah) ; [hence] a decorative movements of limbs [in producing a play] has been considered as {an instance of] the conventional Practice.

77. So much about the Zonal Division, [the two] Practices and the {four} Local Usages. Experts in dramatic production should know these and put them properly into practice.

78. [have described here the Histrionie Representation by means‘of the Sakha and the Afgahara. T shall afterwards speak about such Representation depending on Words which consist of vowel and consonantal sounds.

Here ends Chapter XTV of Bharata’s Natyasistra which treats of the Local Usages and the Practices, »

72 (B.XII1.80, G.73).

73 (B. XILL.81, 6.74). 1 B reads one additional couplet after this. 74 (B.XIII.82, G.75). | B. reads one additional couplet after this. 75 (B,XII1.84, 6.76). 76 (B.XJIL85, 6.77).

77 (B.XIII.86, 6७.78), 78 (B.X1I.87, G.79),

CHAPTER FIFTEEN RULES OF PROSODY

The actor's speech

1. Othe best of Brahmins, T shall now speak about the nature (lit characteristics of) the Verbal Representation which has been mentioned before? and which relates to (lit. arises from) vowels and consonants.

Importance of speech in drama

2. One should take care of words?. For these are known as the hody of the dramatic art (कुत), And Gestures, Costumes and Make-up and the Temparamental (ठत) acting [merely | clarify the meaning of words.

ॐ. In this world (lit. here) the Sastras are made up of words and rest on words; hence there is nothing beyond words, and words are at the source of everything?. ८

4. The Verbal representation is related to [a knowledge of] nouns (nama), verbs (abhyta), particle (wipatc), preposi- tion (upasurga), nominal sutfix (taldhife) compound words (कः), euphonie combination (saadhi) and case-endings ( vibhakti )

The two kinds of recitation

5. The Recitation (pathya) [in a play] is known ‘to. he of two kinds : Sanskritic and) Prakritic. I shall speak ० their difference in due order,

eee

I(C.1; B.XIV.1), ` For the four Kinds of Histrionic Representation which ineludes the Verbal one see NS, VI. 23.

2(C.1; B.XIV.2), ?This rule applies to the actors as well as to the play-wright. On this Ag. says: वाचि aaa कतव्य इति मायिना निमाणकाल नटन प्रयोगकाकै.

3 (0.9; B.XIV.3). ` This view is also held hy Bhatrhari (errca 600 4.0.) in his Vakyapadiya (Agamakinda).-See B, p. 224, foot note.

4, (C.4; B,X1V.4). 5 (0.5; B.XIV.5),

-XV. 9] RULES OF PROSODY 249 Different aspects of Recitation

6-7. (They consist of] vowels, consonants, euphonic combi- nation, case-endings, nouns, verbs, prepositions, particles and nominal suffixes. The Sanskritic Recitation is characterised by [a due regard to] these aspects and compound words, and includes yarious verbal roots!. Now listen about its application.

The speech-sounds

8 The fourteen sounds beginning with a and ending in au, are known as vowels, and the group of sounds beginning with ka and ending in ha are known as consonants.

Vowles are fourteen in number?. A, 4, i, i, u, तह 1.1, e, ai, 0 and au are to be known as the vowels.

The group of letters beginning with ka, are consonants. Ka, kha, ga, gha, fia, ca, cha, ja, jha, fia, ta, tha, da, dha, na, ta tha da, dha, na, pa, pha, ba, bha, ma, ya, ra, la, va, इति, sa sa and ha? [constitute] the group of consonants®.

Consonants : their articulation

9. The first two sounds of each group [of the stop vonsonants] are known as unvoiced (ayhost) and the rest [of the group] are called voiced (yhosa).

6-7 (C.6-7; BXIV.6-7). 1 Read nanadhitu-samisrayam, C.

8 (C8; B,X1V.8). 1 Different Siksis and PriitiMikhyas enumerate vowels differently. According to the Ps. they are 22 in number, while the Atharva, ‘Taittiriya, and Vajasancyi, Pratitakhyas and the Rktantra Vyakarana (Samaveda Pr.) give their number respectively as 13, 13, 16, 28 and 23, See PS, (ed. Manomolan Ghosh) p.51. र

9 PS, counts anusvara, wiserga, jihvamuliya od upadhmaniva among consonants. See ed. Ghosh, p. 50.

४ ए, reads after this a couplet (B.10) from Ps. sce tbid, p. 59. Not occurring in most of the mss. this may be taken as spurious. This is followed in B. by a prose passage which also seems to be spurious. The same is our view about the couplet B.11 which follow this prose passage. The substance of this couplet (B.11) oecurs in 9 below.

9 (6.9 ; B.X1V.12). 1 [१ ©, this couplet oceurs after 8 and before the prose passage that follows it,

32 >

250 THE NATYASASTRA [ XV. 10-

10. 1116861 [consonants] are to be classified into (lit. known as) voiced and unvoiced, velar, labial, dental, lingual (jihvya)?, nasal, sibilant, palatal and Visarjantya. ;

‘11 In these groups fof consonants] ga, gha, fa, ja, jha, ii, da, dha, na, da, dha na, ba bha, ma, ya, ra, la and va are voiced, while ka, kha, ca, cha, ta, tha, ta, tha, pa, pha, €, sa, sa and ha are unvoiced.

12-14. Ka, kha, ga, gha, and fa, are velar (kanthastha)* ca, cha, ja, jha, ila, i, i, ya and éa palatal, ta, tha, da, dha, na, r, ra, and sa cacuminal (mdtrdhanya), ta, tha, da, dha, na, la, and sa dental, pa, pha, ba, bha, and ma labial; a and ha are from the throat (kanthastha), 0 and au are throat-labial (tanthyostha- stha@na)®, 6 and ai, throat-palatal (knéaha-talavya).

14-15. The Visarjaniya is from the throat, and ka and [kha] are from the root of the tongue?, The place of articulation for pa and pha are lips, and the same will be for the closed (arivrta) vowels u and पः.

15-16. [The group of sounds] beginning with ka and ending in ma are called stops (sparfa), ga, $a sa, and ha are open

10 (C.10; B.XIV.13). + Read the first hemistich as एते Werder: कण्टोष्टयदन्ताजिद्वयलुनािकया

? The 120 does not seem to occur in any well-known grammatical work. This is perhaps synonymous with mirdhanya; for in the pro- duction of mtirdhanya sounds jrhvé (tongue) plays the most important part, The Taittiriya. Pr. describes the manner of their production as follows: JSthvagrena prativestya murdhant ta-vargasya (11.37). Curiously enough this term has never again been used in the Nx.

11 (C.11; B.XIV.14).

12-14 (C.12-14a; B.XIV.15, 15 of p.230 and 16). । For different tradi- tional views about the places of articulation of consonants sce PS. 7, 62 Read 11b as follows --कणवचक्टढतथपफ-गषस। एति वगवुघोषा

* Read 12a as follows क गध डाः कर्टखासालुश्याना मतासु चक्टजमजाः :

° Read 13b as follows :-—artar पुथ aw zear afi खिता da:

* Read 14a as follows : भ्रौ भौ कणव्यो्मो ए ए कारौ च कण्डतालव्यौ,

14-15 (C.14b-15a, B.XIV.16b-17a). 1" See note 1 to 12-14 above,

१ Read 14b-15a, as follows: कष्य विसडनोयो जिषठामूलोहवी(कखयोः । पफयो- गोष्टणयानो मवं दुका रसधासरोऽविद्रतः,

15-16 (C.15b-16a, B.XIV.17b-18a). 1 0. samortah for samurtasah.

-XV. 91] RULES OF PROSODY 961

(णद) while semivowels (autahstha) are chosed (samorta), na, fla, na, na and ma are nasal [sounds].

16-17. Sa, sa, and sa and ha are sibilants (usc, lit. hot) ; ya, ra, la and va are semivowels (qtuhstha, lit. intermediate), hka from the root of the tongue (jihvamdéliya) and bpa from the Upadhma (npadhmaniya),

17-18. Ka, ca, ta, ta and “pa are [simply] uttered (searita), and kha, cha, tha, tha and pha are uttered [markedly] from the throat, and ga, gha, ja, jha, da, dha, da, dha, and ba, bha from the throat as well as the breast (unthorasya)?.

18-19. The Visarjaniya should be known as a sound from [the root of] the tongue. These are the consonants which have been briefly defined by me. I shall now discuss the vowels with reference to their use in words.

Vowels : their quantity

20. Of the above mentioned fourteen® vowels ten constitute homogenous pairs (sa@manc), of which the first ones are short and the second ones long.

The four kinds of word

21. 4Constituted with vowels and consonants [described ubove| the words include verbs (ahyate), nouns (nama), roots (dhatu), prepositions (mpasarya) and particles (vipata), nominal affixes (tad/hita), cuphonic combinations (sandhi) and case terminations (vibhukti).

16-17 (C,16b-17a; B.XIV.18b-19a).

17-18 (C.17b-18a, B.XIV.19b-20a). | Read this couplet as follows: कचटतपाः खरिताः खः वजठथफाः खुल्या TOM) कण्डोरखान्‌ प्रियाद्‌ गजनभदवघमढघभान्‌ तु we,

18-19 (C.18b-19; B.XIV.20b-21), " See note 1 to 12-14 above. Read 18b as follows: वैद्यो विषभैनौयो fawrqafeal वय॑ः. See the foot-note in B. under B. 20b.

20 (0.20; BXIV.22b-23a). 1 ए. reads one additional hemistich (B 22a), before this.

2 About the number of vowels sec 8 note 1 above.

21 (C.21; B. foot note 4 in p. 281). .

252 THE NATYASASTRA [ ११४.

22, The characteristics of vocables have been mentioned in detail by the ancient masters. ¶ shall again discuss those charac- téristi¢s briefly when an occasion will arise?.

The noun

23. The noun? has its functions determined by the case: endings such as ‘su’ and the like, and by special meanings derived therefrom? ; and it is of five® kinds and has a basic meaning (pratipadik@rtha) and gender‘.

24, Tt (the noun) is known to be of seven? classes and has six cases, and [sometimes] it is well-established (prathit«)? and

22 (C.22; B. foot-note $ in p. 231).

23 (C.25; B X1V.28). | This couplet has evidently been misplaced in C. as well as B. Begin it as svadyidya’,

9 The second hemistich should be emended as follows : प्रातिपादिकाध्लिङ्- am पञ्चविधं नाम जयम्‌, (135, farga, °विधमिदं सेयम्‌ }.

3 The five kinds of noun have been enumerated as follows : उणाद्यन्तं Hea च ages समासजत्‌ । MEE चव नाम पञ्चविधं दतम्‌ ॥ Coyicandra, Samksip- tasara-vivarana (Ref, Haldar, Itihasa, p. 174).

4 There is a difference of opinion about the number of basie meanings (pritipadikartha) of a word. According to Panini they are-two ; chareteris- ties of a species (44४) and object (dravya). Katyayana adds one more to the number which is gender (/ziga). But Vyaghrapat—a rather less known ancient authority—took their number to be four. According to him they are: characteristics of a species, object, gender and number (samkhyii). Patajijali however considered them to be five in number, ¢.g. characteristics

of aspecies, object, gender, number and case (Karaka). (Haldar, Itihisa p. 447-48,

24 (C.23; B.XIV.25b-26a). | The seven elasses probably relate to the seven groups of case-endings.

2 ^ words prathrta and sidhya- as grammatical terms are searctly well-known. Prathzta seems to relate the well-known words as a whole, which cannot be conveniently analysed into component parts. (Unadi derivation should in this connexion be considered as the most artificial). It may be in contrast to these that the words which can be built up from the verbal roots and affixes cte. are known as sadhya (to be,made). These two terms may therefore be taken as synonymous with Aiujha and yaugtka vespeetively. ».

-XV. 27 | RULES OF PROSODY 258

[sometimes] is to be constituted (sadhya)? [and when combined with different case-endings] it may implyzindication (nirdega)®, giving to (sampradana), taking away (apalanu) and the like. = +

25. ‘The verbs relate to actions occurring in the present and the past time and the like; they are sometimes well-established (prathita)? and sometimes to be constituted (sadhya)®, are distin- guished and divided according to number and person.

The verb

26. [A collection of] five hundred roots divided into twenty- five classes are to be known as verbs (2/0 दाव) in connexion with the Recitation, and they add to the meaning of the nouns?.

27. Those that wpusyjanti (modify) the meaning of the verbal roots in connexion with the meaning of basic words" are for that [very] reason called upuserya (preposition) in the science of grammer (sumnshara-sastra).

3 NirdeSa scems to to relate ‘nominatives; for it is one of the meanings of the case-endings. [Enumerating these some grammarian says निर्देशः करयं कम॒॑॑प्रदानसपकषेणम्‌। aleiertaacd विभक्ताथा; प्रकीर्तिताः : (Haldar, Itihasa, p. 170).

25 (C.24; B.XIV.26b and ef, 297). 1 Read the couplet as follows -— संप्र्यतोतकालक्रियादियोगः प्रथितखाध्यम्‌। वचनानां यतियुक्तं पुरुषषिभक्त' तदाग्यातम्‌.

ए. 27a scems to be corrupt and redundant.

* In case of verbs prathita seems to relate to irregular froms like paiya in place of क, and sddhkya to regularly constructed ones, Sec also note 1 to 24 above.

26 (C.26a; B.XIV. 27b, 29a). ' C. omits 26a and gives only 26b as C. 26a. There are different number of roots in lists (Dhatupatha) attached to different grammatical works. It is not known which give their number as five hundred. Dhanapala (970 A.C.). in his commentary to Jaina Sakatayana’s Dhatupatha says on the subject as follows AANA Ay aise सत च। वाक्यतः Maawa शतानि wa घातवः॥ - (Ref. Haldar, Itihasa, p. 44). Verbal roots are divided according to P.inini into ten classes

(gana). Their division into twontyfive classes does not seem to occur in any well-known work.

27 (C.26, B.XIV.30). This definition of the upasarga follows Sakatayana’s view on the subject as expressed in the Nirukta (J, 1.3-4) According to this authority upasergas have no independant meaning and

oa

264 THE NATYASASTRA [ XV. १8. The particle

28. As they nipatanti (come together) with declined words (pada) to strengthen their basic meaning, root, metre? or etymo- logy®, they are called nipatas (particles).

The affixes

29, ¬ 43 it distinguishes ideas (pratyaya) and develops the meaning [of a root] by intensifying it or combining [it with another] or [pointing out] its essential quality (su/éva), it is called pratyaya. (affix).

eo The nominal affix

30. As it develops the meanings [of a word] by an elision {of some of its parts], a seperation of its root and affix, or their , combination and by pointing out the abstract notion [indicated by it], it is called taddhtia (nominal affix).

they are merely auxiliary words modifying the meaning of the verbal roots. On the different ways in which such modification takes place one grammarian says: @fafraf धालय ज्ञवित्तमनुवतैते । विभिन तभवाधेमुपससगेगतिस्िधा, Haldar, Itihasa, p. 346). ध

28 (C27; B.XXIV.31). ' According to Panini indcelinables (avyaya) of the ca-group are particles (#7pata). See I. 5.57, According to Pataijali z7pii¢as do the function of case-endings and intonation (seara= pitch accent). He says : विनक्तिष्रप्तिद्पकाश्च भवन्तोति निपाततन्नाः...(० P.II1.4.2). The author of the Kasika too accepts this view in his comments on P.I. 457.

2 Ca, vat, tu, and Az are instances of such 06८45.

: 3 Jt is not clear now tfatas, strengthen the etymology given heree Probably the reading here is corrupt.

29 (C.28; B.X1V.82). ' Such an claborate definition of the pralyaya does not not appear to ocenr in any exant grammatical work. Ag. seems to trace it to the Aindra school of grammarians. The meaning of the definition is not quite clear. According to the common interpre- tation the pvatyaya means that which helps to develop # meaning from root ( are: प्रतीयते स प्र्ययः ),

30 (6.29; B.XIV.38). ' This definition of the ¢addhita does not seem to oceur in any well-known grammatical work. It dageribes the processes through which the ¢addhrta suffix will transform a word.

XY. 34 | RULES OF PROSODY 255

The case-cnding

31. As they vibhajanti (distinguish between) the meanings of an inflected word or words with reference to their roots or gender, they are called vihhalti (case-endings).

The cuphonie combination

32. Where separated vowels or consonants sandhiyate (combine)* by coming together? (yogatah) in a word or words it is called [an instance of} sandhi (euphonic combination).

33. As due to the meeting of two sounds (lit. letters) or of two words, their sequence (ककार) sandhiyate (result in a combi- nation), it is called samdhi (euphonic combination).

The compound words

34. The Samasa (compound word) which combine! many words to express a single meaning च| suppresses affixes, has been described by the experts to be of six kinds such as Tatpurusa and the like.

31 (C.30; B.XIV.34). 1 This definition follows the etymological sense of the term (ष्य), Durgasimba of the Kalapa school says the case-endings are so called because of their giving distinctive meaning to a word (aaa पिमिजनाद्‌ frafs), See Haldar, Itihasa, p. 169).

32 (B.XIV.35) C. omits this, Read एषु for गक, + The sandht is strictly speaking, not merely a combination of two sounds (vowels or consonants), in a great number of cases their mutual phonetic influence constitutes a sandht. This is of five kinds, and relate to savara-s, vyaijana-s, prakrit-s, anusvara-s, and visarga-s.

2 This ‘coming together’ depends on the shortness of duration which roparate the utterance of the two sounds. According to the ancient authorities sezdhz will take place when this duration will not be moro than half a matva. It is for this reason that the two hemistichs in a couplet are never combined.

ममावो्चारणकालन्यवहितयोैण्यो द्रः तृतरो्ास्णं सन्धिः। waar सलोकाघयोरमन्वाधैयोवा न afar) बर्पमादोच्चारणकालब्यधानखोविततात्‌, (Haldar, Itihdsa p. 166).

38 (C.31; B.X1V.36). | C. reads 33a, 88 वरं क्रम सम्बन्धः पटं कयोगोऽन्य वरयीगा च,

34 (C,82; B.XIV.37). | Reads samharat samiso’pi (B.) for samha- rant sambksépat (C-). ८.५ `

256 THE NATYASASTRA ‘ [XV %

35. Observing such rules of grammar (sabda-vidhana) one should compose series of inflected words (vada) combined in verse or in prose, which have the quality of suggesting extensive meaning (lit. extensiveness )?.

Two kinds of word

36 Padas are inflected words! and are of two kinds, viz. those used in verse, and those in prose, Now listen? [frst] about the characteristics of words used in prose.

Words in prose 37. Words used in prose are not schematically combined, have

not the number of their syllables regulated, and they contain as many syllables as are required to express the meaning [in view].

Words in verse

38 Words used in verse consist of schematically combined, syllables which have caesura and stops? and which have their number regulated 2.

Syllabic metres

39. Thus arises a Rhythm-type (rhaindas) called Vetta ( syllablic metre ) made up of four fect? which expresses different ideas and consists of [short and long] syllables.

Rhythm types

10. Rhythm-types in feet are twenty-six in number. Syllabie metres with these Rhythm-types are of three kinds, viz. even (sunt), semi-even (1111-५) and uneven (vise).

35 (6.3); B.XIV.38). | Read the couplet as follows --एमिः xefaara विकलए्यञ्नायेयुतं ;। aga: ater: इततनिवनरालु चरणा वा,

36 (0.84; B.XIV.39), | C. otbhasykapadam for atbhaktyantam , (, bahir-bodhata for samuibodhata.

37 (C.35; B.XIV.40). | 1, antbaddhapadam .chandas for antbaa- dhapadavrnda ; (1, arthopeksiksarayutam and VB. °syntam [0 arthapcksyaksarayulam.

38 (C.36; BXIV.41) = । (4. padacchela lor yaticéheda.

39 (C.37; B.XIV.42). 1 ए, pramina-ntyatatmakam ‘ov pramiina- niyataksaram, Read padatr-varnarr for padairvarnatr,

40 (C.38 ; B.XIV.43).

XY. of ` RULES OF PROSODY 957

41-42, This Rhythm-type which assumes the form of different syllabic metres, is the body of words, There is no word, without rhythm and no rhythm without word. Combined with each other they are known to illuminate the drama.

Twentysix Rhythm-types

45-49. [The Rhythm-type] with one syllable [in a foot] is called Ukta, with two syllables is Atyukta, with three syllables Madhya, with four syllables Pratistha, with five syllables Supra- tistha, with six syllables Gayatri, with seven syllables Usnik, with eight syllables Anustup, with nine syllables Brhati, with ten syllables Pankti, with eleven syllables Tristup, with twelve syllables Jagati, with thirteen syllables Atijagati, with fourteen syllables Sakkari, with fifteen syllables Atiakkari, with sixteen syllables Asti, with seventeen syllables Atyasti, with eighteen syllables Dhrti, with nineteen syllables Atidhrti, with twenty syllables Krti, with twentyone syllables Prakrti, with twentytwo syllables Akrti, with twentythree syllables Vikrti, with twentyfour syllables Samkrti, with twentyfive syllables Atikrti?, and with twentysix syllables Utkrti.

Possible metrical patterns

49-51. Those containing more syllables than these are known as Miali-vrttas. And the Rhythm-types being of many different varieties, metrical patterns according to the experts? are innumerable. The extent of these such as Gayatri and the like, is being givén [below] But all of them are not in use.

51-76. [Possible] metrical patterns of the Gayatri [type] are sixtyfour, of the Usnik one hundred and twenty-eight, of the Anustup two hundred and fiftysix, of the Brhati five hundred and twelve, of the Pahkti one thousand and twentyfour, of the Tristup two thousand and forty-eight, of the Jagati four thousand

41-42 (C.39b-40; ४.९1 ए 4470-4). 43-49 (C.41-47a; B.XIV.46-52a). | also called कषक 49-51 (C.47b, 38b-59a, B.XIV.52b-54a). ' These experts are mathe- maticians like Bhaskaracarya. Seo Litavati, section 84, (ed Jivinanda, p. 50). 51-76 (C,59b-80a; B.XIV.54b-79), ¢ 33

॥ 1 258 THE NATYASASTRA [ RV. 77.

and ninetytwo, of the Sakkari sixteen thousand three hundred and eighty-four, of the Atigakkari thirtytwo thousand seven hundred and sixty-eight, of the Asti sixtyfive thousand fiive hundred and thirty-six, of the Atyasti one lac thirty one thousand and seventy-two, of the Dhrti two lacs sixty-two thousand one hundred and forty-four, of the Atidhrti five lacs twenty-four thousand two hundred and eighty-eight, of the Krti ten lacs forty-eight thousand five hundred and seventy-six, of of the Prakrti twenty lacs ninety-seven thousand one hundred and fifty-two, of the Akrti? forty-one lacs nincty-four thousand three hundred and four, of the Vikrti eighty-thvee lacs eighty thousand six hundred and eight, of the Samkrti one crore sixty-seven lacs seventy-seven thousand two hundre® and sixteen, of the Abhikrti (Atikrti} three crores thirty-five lacs fifty-four thousand four hundred and thirty-two, of the Utkrti six crores seventy-one lacs cight thousand eight hundred and sixty-four.

77-79. Adding together all these nambers of different metrical patterns we find their total as thirteen crores forty-two lacs seventeen thousand seven hundred and twenty-six.!

Another method of defining metres

79-81. T have told you about the even metres by counting [their numbers]. You should also know how the triads which make up the syllabic metres. \hether these are one, twenty, thousand or a crore, this is the rule for the formation of all the syllabic metres or metres in general. ~

81-82, Triads are eight in number and have their own definitions. Three syllables heavy or light, or heavy and light make up a triad which is considered a part of each metrical pattern.

1 Slokas giving the numbers of metres of the क) ण, samértr, abhikrt7 (atikrl7) and २४८६१४7 classes seems to be corrupt in C.

77-79 (C.80b-82a; B.XIV,80-82a). 1 Readings of B. and C. do not literally agree.

79-81 (C.82-84a; 8. foot note 4 in p. 241). 1 ©, omits 79b, ` 81-82 (C.84b-85; B.XIV .8ab-84).

XV. 90] RULES OF PROSODY 259

83-84. [Of these eight triads] bha contains two light syllables preceded by aheavy one (-- ९९), ma three heavy syllables (— — —), ja two light syllables separated by a heavy syllable (+ — <), sa two light syllables followed by a heavy syllable (+ u—) ra two heavy syllables separated by a light one (— u —), ta two heavy syllables followed by a light one (~ — uw), ya two heavy syllables preceded by a light one and (९ ——), na three light syllables (U «+ <+).

85-86. _ These are the eight triads having their origin in Brahman. For the sake of brevity or for the sake of metre they are used in works on prosody, with or without [inherent] vowels (. 6.१).

86-87 A single heavy syllable should be known as ga and such a light syllable as la. ।

Separation of two words [in speaking a verse] required by rules (of metre] is called caesura (yati).

87-88. ^ heavy syllable is that the which ends in a long or prolated (pluta) vowel, Anusvara, Visarga or comes after a con- junct consonant or sometimes occurs at the end [of a hemistich].

88-89. Rules regarding the metre, relate to a regular couplet (sampat), stop, foot, deities, location, syllables, colour, pitch and hyper-metric pattern.

The regular couplet

89-90. A couplet in which the number of syllables is neither in excess nor wanting is called a regular one (sampat).

The stop

90-91, The stop (vir@ma) occurs when the meaning has

been finally expressed.

88-84 (C.86-87; B.XIV.85-86).

85-86 (C.88-89a; B.X1V.87, 880). 'B. reads one additional hemistich between 85b and 86a.

86-87 (C.89b-90a; B.XIV.89).

87-88 (C.90b-91a; B.XIV.90).

88-89 (C.48; B.XIV.102). 89-90 (C.49, B.XIV.103).

90-91 (C.50; B.XIV.104). |

260 THE NATYASASTRA [ XV. 91- The Toot

The foot (pada) arises from the root pad, and it means one

quarter [of a couplet]. The presiding deities of metres

91-92. Agni and the like presiding over different metres are

their deities. Location

Location is of two kinds, viz, that relating to the body and

that to a [particular] region. Quantity of syllables

93. Syllables are of the three kinds, viz. short, long

and prolated (plute), Colours of metres Metres have colours like white and the like. Pitch of vowels

94-95. The pitch of vowels is of three kinds, viz. high, low and medium. I shall speak about their character in connexion with the rules of Dhruvaés Rules [about their use] relate to the occasion and the meaning [of thing sung or recited].

Three kinds of syllabic meters

95-97. Syllablic metres are of three kinds, viz, even (sama),

semi-even (ardha-sama) and uneven visamna),

If the number of syllables in a foot of any metre is difficient or in excess by one, it is respectively called Nivrt or Bhurik. If the deficiency or excess is of two syllables, then such a metre 18 respec- tively called either Svarat or Virat.

91-92 (U.51; B.XIV.105),

93 C.53b-54a, B.XIV. (107b-10Sa). This couplet is preceded by in B. three hemistichs which do not occur in some versions, and which seem to be irrelevant. 94-95 (C.53b-54a, B,XIV.108b-109).

95-07 (C.54b-58a, B.XIV.110-112a).

-XV. 102 ] RULES OF PROSODY 261

98. All the syllabic metres fall into three classes such as divine, human and semi-divine,

99. Gayatri, Usnik, Anustup, Brhati, Tristup and Jagati belong to the first or the divine (divya) class,

100. Atijagati, Sakkari, Atigakkari, Asti, Atyasti, Dhrti and Atidhrti belong to the next (i.e. human) class.

101. Krti, Prakrti, Vyakrti (Akrti), Vikrti, Samkrti, Abhikrti (Atikrti) and Utkrti belong to the semi-divine class’.

102. O the best of Brahmins, now listen about the metrical patterns which are to be used in plays and which are included in the Rhythm-types described by me’.

Here ends Chapter XV of Bharata’s Natyagastra which treats of the Rules of Prosody.

98 (C.91b-92a, B..XIV.112b-113a). 99 (C.92b-98a, B.XIV.113b-114a). 100 (93b-94a, B.XIV.114b-115a).

101 (C.94b-95a, B.XIV.115b-116a). ' The seventeen couplets after this (C.101a-118a B.XIV, 116b-132a) seem to be spurious. For a discus- sion on this point see the Introduction.

102 (C.118-119, B.X1V,13 `-134). 1 Some versions of the NS. read this couplet as the beginning of the next chapter.

CHAPTER SIXTEEN METRICAL PATTERNS ‘Vanu-madhya

1. ?fanu-mdhya isa variety [of metres] of the Gayatri class. [In each of its fect] the first two and the last two syllables are heavy?.

Example :

2. santyakta-vibhiisé bhrastdiijana-netra |

hastdrpitaganda kim tvam tanu-madhya ॥

0 fair lady (lit. slim-waisted one), why? have you cast off your ornaments, why are your eyes without collyrium and why are you resting the cheek on the palm of your hand ?

Makaraka-irsa

8. (Of the same class is] Makaraka-irsa which has {in each of its feet] the first four syllables light and the last two heavy?.

Example :

4. svayam upayantam bhajasi na kaéntam |

bhayakari kim tvam makaraka-Sirsa ॥

You are not greeting the beloved one who has come to you of his own accord terrible one, why? are you so तणा headed?

1 (6.92. श ४.४). ' This is preceded in B. and ©. by a couplet which rightly belongs to the Chapter XV. (XIV. in B.)

2 Scheme (-- Uu, u--). The definition of this metre is also its example though an independent example also follows. Such is the case with many other metres defined in the NS.

2 (C3, B.XV.3). } Kim tvam—why (are) you..? Cp. Kim akarayam eva darganam rataye na diyate, Kumar. lV. 7.

3 (C.4, B.XV.4), 1 Scheme (U u U, U--). This is called Sagivadana by Pr. P. Vr. R. and Srv.

„ 4(C.5, B.XV.5). ' See above 2 note 1. 2 Makaraka’sira—having a head (1.6, brain) like that of a makara.

-XVI 9] METRICAL PATTERNS 263 Malati 5. [The metre with] the feet of six syllables of which the second and the fifth are light and the rest heavy, is called Malati?. Example :

6. Scbhate baddhaya satpaddviddhaya | malatimalaya manini lilaya ॥

The offended woman wearing the Malati garland in which the bees are clinging looks charming.

Malini

7. (The metre with] the feet of six syllables of which the

second one is light [and the rest heavy] is called Malini.* Example :

8. snana-gandha-sragbhir vastra-bhiisayogaih |

vyaktam evaisé tvam malini prakhyata ॥

By your perfumed bath, [wearing of] garlands, [good] dress and ornaments you are clearly recognised as the wife of a garland- maker. 3

Uddhata 9. [The metre with] the feet of seven syllables of which

the second, the fourth and the fifth are light [and the rest heavy] is called Uddhata‘.

The allusion is perhaps to the foolish makara in the Vanara-makara-katha in the Paicatantra, [V. which really believed that the monkey had left its heart behind in the tree on the river-bank. Hence I translate the word as “dull-headed one.”

5-6. (B.XV.9-10). ' Scheme (~ ७ ~, - ९» ¬) ©. omits this metre.

7 (C.6, B.XV.6-7). ` Scheme (- ५ ¬, - - -), This is quite different from the metre Maliai defined by Pitgala and his followers. The NS. calls this second Malini (with 15 syllables in each pada) Nandimukhi. See below 73-74.

8 (6.7, B.XV.8).

9(C.8, BXV.11-12). 1 Scheme (- ८ ~, «+ ५. ~, ~).

10 (6.9. 8.34 ४.18).

264 THE NATYASASTRA [ XVI. 10.

10. danta-kunta-krtdikam vyakuldlaka-éobham |

gamsativa tavdsyam nirdayayam rata-yuddham ॥

Your face which bears the marks of spear-like teeth [of the beloved] and is strewn over with your disheyelled hair, indicates indeed an unrelenting fight of love.

Bhramara-malika

11. [The metre with] the feet of seven syllables of which the first two and the last two are heavy [und the rest light) is called Bhramara-malika!.

Example : 12. nana-kusuma-citre prapte surabhi-miise ॥ esi bhramati matta kinte bhramara-mala ॥

0 beloved one, this heing the month of Caitra which is varigated with different flowers, cluster of hees are flying about intoxicated [with their smell].

Simha-lekha

13, [The metre with] the feet of eight syllables of which the first, the third, the fifth, the seventh and the last [the eighth] are heavy {and the rest light] is called Simha-lekha'.

Example :—

14. yat tvaya hy aneka-bhavais cestitam rahah sugatri 1

tan mano mama pravistam vritam atra simha-lekham ॥

That you have planned the love’s embrace in various ways, 0 fair-limbed one, has been inscribed in my mind with the scratch of a lion’s claws?.

Matta-cestita

15. [The metre with] the feet of eight syllables of which the

11 (C.10, B.XV.14-15).! Scheme (-- ८, UU ae ). 12 (C.11, B.XV.16). 13 (C.12, B.XV.19). ¬ Scheme (- U-,U-u, - ८ -) ©. gives the name as Simhalila. . 14 (C.13, B.XV.17-18). ` The translation follows Ag. , 15 (6.14, B.XV.20, 21), ` Scheme (८१ - «+, - ९ ~> ८ ~), This metre js named as Pramanika in Pr. P.

-XVE. 90] _ MEPRICAL PATTERNS 265

second, the fourth, the sixth and the eighth are heavy [and the rest light] is called Matta-cestita

Example :

16. cardvaghiinitéksanam vilambitakuldlakam |

asamsthitaih padaih priya karoti matta-cestitam ॥

The beloved one with her eyes restless and rolling, hairs hanging down dishevelled, and footsteps unsteady, is behaving like a person who is intoxicated.

Vidyul-Iekha [The metre with] the feet of eight syllables of which all are heavy, is called Vidyul-lekha.t Example : 18. simbho-bharair anardadbhih gyamambhodair vyapte vyomni | adityimsu-spardhiny esa diksu bhranta vidyul-lekha ॥

The sky being overcast with dark clouds which are roaring and are laden with masses of water, a flash of lightning which rivals the sun-beam is running in [different] directions.

Citta-vilasita

19. [The metre with] the feet of eight syllables of which the fifth, the seventh and the last are heavy [and the rest light] is called Citta-vilasita.*

Example : 20. smita-vasa-viprakaSair dasana-padair amibhih | varatanu piirna-candram tava mukham dvrpoti 4

0 fair lady (lit. fair limbed one)", your face with the teeth

16 (C15, B.XV.22).

17 (C.16, B.XV.23, 24). 1 Scheme (---, --- --). ए, gives the name as Vidyun-mala, This is the name in Pitgala and Sr. B. 18 (6.14, B.XV.25).

19 (ए, ४.26). * Scheme (U UU, <+ - ८» ~~). C. omits this metre.

20 (B.XV.27). ! This mode of addressing a beloved woman is as old as the time of Patafijali who quotes the fragment of a poem as follows : varatanu sampravadanh kukkufah Ref. Apte's Guide to Skt. § 819).

84

268 THE NATYASASTRA [XVI at.

revealed on account of your smile, outshines (lit. covers) the full moon. ; | Madhukari . 21. [The metre which has] the fect of nine syllables of which — the last three are heavy [and the rest light] is called Madhukari.? Example : 22. kusumitam abhipasyanti vividha-taruganais channam | vanam atisaya-gandhidhyam bhramati madhukari hrsta ॥ Seeing the woodland covered with various trees full of flowers and rich in exuberence of [pleasent] odour, the female bee is flying about in delight.

Kuvalaya-mala

23, [The metre which has] the fect of ten syllables of which the first and the last three are heavy [and the rest light] is called Kuvalaya-malat.

Example : 24. asmims te sirasi tada kante vaidtiraya-sphatika-suvarnidhye | Sobhim svam na vahati tam * baddha suslisté kuvalaya-maléyam ॥

0 dear one, this well-made garland of Kuvalaya? flowers fastened at that time on your head which has been richly decorated with lapis lazuli, quartz and gold, does not bear [any more] its naturalbeau ty.

Mayirasarini

25. [The metre which has] the feet of ten syllables of

21 (6.18, B.XV.98, 29). } Scheme UUU,UUU,---). This metre is called Bhujagasisubhrta (कुप्त, vrta) by Piigala and his followers, 22 (C.19, B.XV.80). 23 (C.20, B.XV.31, 32). } Scheme (---, UUU, U--,-). This is called Panava by Pifgala and his followers. - 24 (C.21, B.XV.a8). 1 Kuvalaya is a blue aquatic flower of tho of the lotus clasa. 25 (0.22, B,XV.84, 85).

XVI. 29 J METRICAL PATTERNS 267

which the second, the fourth, the sixth and the eighth are light [and the rest heavy] is called Maydrasarini?. Example : 26, naive-te’sti samgamo manusair ndsti kimabhoga-cihnam anyat | garbhiniva drSyase hy anarye kim mayiira-sarini tvam evam ॥ O ignoble one, you have no union with men, neither have you any sign of love’s enjoyment, Still you look like one who is enceinte, You indeed behave like a pea-hen.?

Dodhaka

27. [The metre with] the feet of eleven syllables of which the first, the fourth, the seventh the tenth and the last are heavy [and the rest light] is called Dodhaka.*

Example : 26. praskhalitagrapada-pravicaram matta-vighirnita-gatra-vilasam | pasya vilasini kufijaram etam dodhaka-vettam ayam prakaroti ॥

O merry lady, look at this elephant which with its faltering steps of the front legs, and with the body playfully moved about [as if in] intoxication, is imitating the manner of a calf (प

Motaka

29. [The metre with] the feet of eleven syllables of which the first two, fifth, the eighth, and the last are heavy [and the rest light] is called Motaka,

1 Scheme (-U-,U-U,-U-,-) | Pihgala gives the name as Mayirasa’ and so does Vr. R.

96 (C.23, B.XV.36). 1 This relates the belicf that the pea-fowls’ sexual union take place in complete seclusion.

27 (C.24, B.XV.87, 38). 1 Scheme (- ९८१ ८ ~ UU, - ८५, - ~).

28 (C.25, B.XV.39). + We are not sure of the meaning of thes कणत dodhaka, Ag. writes dodhakena giyamanam vittam dodhaka-vittam,

29 (C.26, B.XV.40). ' Scheme. (~ - ८ ९१ - ८१, ८१ - ५, ८ ~). This is named as Motanaka by 09724559 infCh. M.

8 PHB NATYASASTRA ` LRVE 99, Example : 30. eso’nbuda-nisvana-tulya-ravab ksibah skhalamana-vilamba-gatih | érutva ghana-garjitam adri-tate wrksan prati motayati dviradah 4 This elephant hearing the clouds roaring in the mountain valley, is trumpeting in excitement as loudly as the [rain] clouds and is rushing with faltering steps to the trees. Indra-vajra

31. [The metre with] the fect of eleven syllables of which the third, the sixth, the seventh and the ninth are light, [and the rest heavy] is called Indra-vajra?.

Example :

32, tvam durniriksya duratiprasada

duhkhaika-sidhya kathinaika-bhava | sarvasv avasthisu ca kama-tantre’ yogyasi kim va bahunéndravajra ॥

You are hard to be looked at, difficult to be pleased and won over, and you have an unmixed ( lit, one) hard feeling, in the practice of love, you are unfit (ayoyya) at every stage ; and in short you are [like] the thunder-bolt of Indra.

Upendravajra

33. [The metre with] the fect of eleven syllables of which the first, the third, the sixth, the seventh, the ninth are light [and the rest heavy] is called Upendravajra‘.

Lxample : 34. priye sriyé varna-visesanena smitena kantyd sukumar-bhavat | ami guna rlipa-gunanuriipa bhavanti te kim tvam upendravajra ॥

30 (C.27, B.XV.41).

31 (C.28, B,XV.42). 1 Scheme (~ - U, - - U, ८ - - ~). 82 (C.29, B.XV.43),

.83 (0.30, B.XV.44), | Scheme (U ~ ९, - - ७, ८ ~ ८, ~ ~), ४५ (८.31, B.XV.45).

BNR) METRICAL PATTERNS ‘269

O beloved one, due to your beauty, the special colours [of your dress], smile, grace and delicate bearing, these qualities of yours have matched the qualities of the [beautiful] form. Are you the bow of Indra १

Rathdddhata

35. [The metre with] the feet of eleven syllables of which the first, the third, the seventh, the ninth and the last are heavy [and the rest light] is called Rathéddhata?.

Example : 36. kim tvaya subhata diira-varjitam nétmana na suhridam priyam krtam | yat palayana-parayanasya te yati dhilir adhuna rathéddhata ॥

O good soldier, why have you left the battlefield com- pletely. You have done neither any good to yourself nor to your friends, for while runing away [from the battle field] the dust [in your road] rises now [as if] scattered by chariot. 1

Svagata

37. [The metre with] the feet of eleven syllables of which the first, the third, the seventh and the tenth and the last are heavy {and the rest light] is called Svagata?.

Example : ४ 38. adya me saphalam dyata-netre jivitam madana-saméraya-bhgyam | agatdsi bhavanam mama yasmat svagatam tava varoru nisida ॥

Today the two large eyes of mine have attained their object and so has my life and love, because you have come to my house ; O fair lady, you are welcome, please be seated.

1 Upendra-vajramiu indra-dhanusa upamutam ९९. (Ag.). 35 (C.32, B.XV.46). 1 Scheme (-U-, VU U,-U-,U-), 36 (C.33, B.XV.47). | ए. gives an additional example of this

metre (B.XV.48). 37 (C.34, B.XV.4y). | Scheme (- U-; ८, U, ~ ७९८, - ~).

970 THE NATYASASTRA [ XVI. 89- Sailini 39. [The metre with] the feet of eleven syllables of which the sixth and ninth are light [and the rest heavy] is called Salini

Example : 40. duhéilam va nirgunam papakam va loke dhairyad apriyam na bravisi | aryam Silam छती he te’nuvrttam madhuryddhya sarvatha salini tvam ॥

On account of your patience with the people you do not, utter a harsh word to any one who has bad manners or is without any merit or is wicked. O good lady, you have followed a noble manner, you are a housewife full of sweetness in every respect.

Totaka

41. [The metre with] the feet of twelve syllables of which the third, the sixth, the ninth and the last.are heavy [and the rest light] is called Totaka.?

42, kim idam kapatésraya-durvisaham

bahu-éathyam athélbana-riksa-katham | syajana-priya-sajjana-bhedakaram nanu totaka-vrttam idam kuruse ॥

Why is this crooked and insufferable conduct full of villainy, and unambiguous (lit. direct) and harsh words hurting the relations, dear ones and [other] good people? You are indeed behaving like a cutter.

Kumudanibha 43. [The metre with} the feet of twelve syllables of which

38 (C35, B.XV.50).

39 (6.36, B.XV.51). 1 Scheme (~ - ~, - - <), - - ५» - ~).

40 (C.37, BXV.52).

41 (C.38, B.XV.53, 54). 1 Scheme (U U-,U U-»UU-, UU), 42 (6.89, BXV.55).

43 (C.40, B.XV.59),

-XVI. 47 ] METRIOAL PATTERNS Q7L

the first four, the. eighth and the tenth are light [and the rest heavy] is called Kumudanibha', Example : 44, kumudanibha tvam kama-bina-viddha kim asi-natabhruh sita-vata-dagdha | mrdu-nalinivapandu-vaktra-sobha katham api jata agratah sakhinam ॥

O fair-eyed damsel, being like a Kumuda flower why have you been struck with cupid’s arrow and why do you appear pale before your friends like a delicate Nalini blasted by the cold wind.

Candra-lekha 45. [The metre with] the feet of twelve syllables of which the-first-five, the seventh and the tenth as are light (and the rest

heavy] and the caesura falls after the first five syllables, is called Candra-lekha?. Example : 46. vaktram saumyam te padma-patrdyataksam kamasydvasam svabhruvos cAvabhasam | kamasydpidam kamam Shartukamam kantya tvam kante candra-Ickhéva bhasi ॥

O beloved one, your sweet face with eyes as large as lotus- petals and the splendour of your eycbrows, are the abode of love, and they are ready to bring love even to the god of love; you shine as it were like a phase of the moon.

Pramitiksara

47. [The metre with] the feet of twelve syllables of which

1 Scheme (९० ८५ ८१, ८१ - -, - ८५ ~; UU). B. gives another metre of this name witha different scheme (- ९/७ ~, ९0 ~ -, UUU,U--) and an example of this (B.XV.56-58).

44 (C.41, B.XV.60). 45 (C.42, B.XV.61). |! Scheme (---, - - ¬ ९, - ¬, ८, - ~), 46 (C.43, B.XV.62). 47;(C.44, B.XV.68).

9 THE NATYASASTRA [ XVI. 48.

the third, the fifth, the ninth and the last are. heavy {and the rest light] is called Pramitikarsat. - Example ; 48. smita-bhasini hy acapalaparus’ nibhrtipavada-vimukhi satatam | yadi kasya cid yuvatir asti sukha pramitaksara sa hi पाक्त jayati ॥ Tf any one has a pleasing young wife with restrained speech, who is always smiling and averse to speaking ill of him [even] secretly, and is never fickle or harsh, that: person verily thrives.

Vamiastha

49. [The metre with] the fect of twelve syllables of which the second, the fourth, the fifth, the eighth, the tenth and the last are heavy [and the rest light] is called Vaméastha.?

Example :

50. na me priya yad bhumiina-varjita

krtdpriyad te parusdbhibh‘ganaih | tatha ca pafyamy aham adya vigraham dhravam hi vamgastha-gatih karisyati ॥

You are not dear to me, for you are wanting in esteem [for me] and your harsh words {also] have made you displeasing {to me}. So I see that the natural habit will surely bring a quarrel today.

Harina-pluta

51. [The metre with] feet of twelve syllables of which the fourth, the seventh, the tenth and the last are heavy [and the rest light] is called Harina-pluta!.

1 Scheme (U ७ ~, U-U, UU-, UU -). 48 (C.45, B.XV.64). 49 (C.46, B.XV-65, 66). } Scheme (८) - ९, - - ८ ८७ - + - ८ ~), 50 (C.47, B.XV.67),

51 (C48, B.XV.68). 1 Scheme (८०९ ८, - ७९), - ७८, ~U-) This is called Druta-vilambita by Pingala and his followers,

-XVI. 56 ] METRICAL PATTERNS 978

Example

52. paruga-vakya-kasAbhihata tvaya bhaya-vilokana-paréva-niriksana { varatanuh pratata-pluta-sar panair anukaroti gatair harina-plutam‘t

The fair lady (lit. fair-limbed one)', smitten by the whip of your harsh words, and looking in fear to her sides and runing away continously with quick steps is imitating by her movements a deer’s gallop.

Kamadatta

53. [A metre with] the feet of twelve syllables of which the seventh, the ninth, the eleventh and, the last are heavy [and the rest light] is called Kamadatta?.

Example : 54, karaja-pada-vibhiisita yatha tvam sudati daSana-viksatadhara ca 1 gatir api carandvalagna-manda tvam asi mrga-samaksi kamadatta ॥

0 fair lady?, you have been adorned with the marks of nails, your lips have been bitten by teeth and your gait also is faltering and slow. It seems, O deer-eyed one, that you have given [yourself up ] to [the enjoyment of] love.

Aprameya

55. [The metre with] the feet of twelve syllables of which the first, the fourth, the seventh and tenth are light [and the rest heavy] is called Aprameyat.

52 (C.49, B.XV.69). See above-20 note |. 58 (C.50, B.XV.70). ' Scheme (U UL, UUU,-U-,U--). CG calls this Kama-matta. 54(C.51, ए. ४.71). Sudati—O fair-toothed one 55 (C.52, B.XV.72). 1 Scheme (U - ~, U--, U--, ५ ~ -). This is called Bhujaiga-prayata by Piigala and his followers. 35

974 THE NATYASASTRA { XVI 66.

Example :

56. na te ka cid anya sama dréyate stri

nmloke visisté gunair advitiyaih | trilokyam gunégryan samahrtya sarvan jagaty aprameyasi srsta vidhatra ॥

Nowhere amongst the mortals (lit.in this world) is to be seen a woman who is your equal, and is distinguished by. singular accomplishments. The creator has made you matchless by putting together [in you] all the best virtues of the three worlds,

Padmini

57. [The metre with] the feet of twelve syllables of which the second, the fifth, the eighth and the eleventh are light [and the rest heavy] is called Padmini?.

Example : : deha-toyagaya vaktra-padmdjjvala netra-bhrigdkula danta-hamsaih smita | kega-patrac-chad#. cakravaka-stani padminiva priye bhasi me sarvada ॥

58. 0 dear lady, you always appear to me like a lotus-lake, for your body is a pool of water which shines by the lotus-face, and your eyes are the restless bees [there] and you smile with the swan-like teeth and your hairs are [the lotus] leaves, and the breasts are like the Cakra-vakas' [swimming there].

Patuvrtta

59. [The metre with] the fect twelve syllables of which the first six and the tenth are light [and the rest heavy] is called Patuvrtta!.

56 (C.53, B.XV.73). 57 (C.54, B.XV.74, 75). = Scheme -(- ~¬, “Us “Us -U-) This is called Sragvini by Pingala and his followers,

58 (C.55, BXV.76). 3 B. gives a second example (B.XV.77) which seems to be a variant of this, . 59 (C.56, BXV 78,79). + Scheme. (U UU, UUU, -- ¬ U=-) This is called Puta by Pingala and his followers,

XVI. 68] METRIOAL PATTERNS 275 Example : 60. upavana-salilanam bala-padmair bhramara-parabhrtanam kantha-nadaih | samada-gati-vilasaih kamininam kathayati patuvrttam madhu-masal: ॥ The month of Caitra (lit. honey-month) with lotus-buds in the garden-lakes, songs of bees and cuckoos and the playful movements of intoxicated women, is anouncing its smart manners?.

Prabhavati

61. [The metre with] the feet of twelve syllables of which the second, the fourth and the ninth the eleventh and the last are heavy [and the rest light] is called Prabhavati.?

Example :

62, katham nv idam kamala-visala-locane

grham ghanaih pihita-kare nisikare | acintayanty abhinava-varsa-vidyutas tvam agat& sutanu yatha prabhavati ॥

O fair one, with eyes as large as a lotus, how have you come like a radiant being to this house [of mine] when the rays of the moon have been covered by clouds and you have not cared for the impending (lit. new) rains and the lightning ?

Praharsini 63. [The metre with the] feet of thirteen syllables of which

the first three, the eighth, the tenth and the twelfth and the last are heavy [and the rest light] is called Praharsini’.

60 (C.87, B.XV.80). ‘Iam not certain about the exact meaning of the term gutaortta. One ms. gives it as patwvrita (see B.) which I adopt.

61 (C.58, B.XV.81). 1 Scheme (९ - ८, - UU, ७ ८० -, ५, - ~). न,

69 (6.४9, B-XV.82).

63 (0,60, B.XV.83). 1 Scheme.(- ~ ~) ५ ५ ५ ९ ~- «7 - ८“, -).

26 THE NATYASASTRA [XVI 64-

Example :

64, bhavasthair madhura-kathaih subhasitais tvam ` sditoparskhalita-vilambita-gatais ca | sobhadhyair harasi manamsi kamukinam suvyaktam hy atijagati praharsini ca ॥

[O fair one], by your loving and sweet words, witty sayings, beautiful, majestic, faltering and slow steps, you capti- vate the mind of lovers. It is apparent that you are enrapturing beyond [anything else in] this world.

Matta-mayiira

65. [The metre with] the feet of thirteen syllables of which the sixth, the seventh, the.tenth and the eleventh are light [and the rest heavy] is called Matta-mayiira?,

Example :

06. vidyun-naddha séndra-dhanur-dyotita-deha vatoddhitah Sveta-balaka-krta-sobhih | ete megha garjita-naddjjvala-cilnah pravrt-kdlam matta-maytiram kathayati ॥

These clouds [characterised] by a thundering noise and brilliant signs containing lightning and rainbow, moved about by the wind, and adorned with white cranes speaks of the [arrival of the] rainy season which maddens the peacocks,

Vasanta-tilaka

67. (‘The metre with] the feet of fourteen syllables of which the first two, the fourth, the eighth and the eleventh and the thirteenth and the last are heavy [and the rest light] is called Vasantartilaka?,

64 (0.61, B.XV.84). 65 (C.62, B.XV.85), + Scheme (- --, - - ८, ८ - ¬, ८ +~, ~). 66 (6.69, B.XV.86). ४ हि | (C.64, B.XV.87). + Scheme,(-- U, - UU, U-U, ८७ - <^, - ~).

VLA ] METRICAL PATTERNS at?

&

Example :

68. citrair vasanta-kusumaih krta-kesa-hasta

srag-dama-malya-racana-suvibhiisitangi | nandvatamsaka-vibhiisita-karnapasa siksad vasanta-tilakéva vibhati nari ॥

This well-dressed woman who has adorned her braid of hairs with the many-coloured vernal flowers, and the rest of her body with various types of flower-garlands* and her ears with various ornaments, looks indeed like the decoration (tilaka) on the forehead [of the goddess] of spring.

Asambadha

69. [The metre with the] feet of thirteen syllable, of which the first five and the last three are heavy, [and the rest light] is called Asambadha.+

` Example : 70. mani lokajiiah gruta-bala-kula-siladhyo yasmin sammanam na sadrsam anupasyed dhi | gaccet tam tyaktva druta-gatir aparam deéam kirna nanarthair avanir iyam asambadha ॥

A proud person who knows the world and is learned, strong, of high birth and character, must leave [२ country] in which he does not find adequate honour, and quickly goes to a different country ; for this world is scattered over with wealth of many kinds and offers no obstruction [to such a person],

Sarabha

71. [The metre with the] feet of fourteen syllables of which the first four, the tenth, the eleventh the thirteenth and the last are heavy [and the rest light] is called Sarabha?.

68 (C.65, B.XV.88). 1 Svak and malya are used here probably to indicate two different kinds of garlands.

69 (C.66, B.XV.89). +Scheme (---, --U, VU ९, UU, --).

70 (C.67, B.XV.90).

71 (C.68, B.XV.91). + Scheme (---,-UU, UUYU, - - ५“ - ¬).

278 THE NATYASASTRA [ XVI. 72-

Example 72. esa kanta vrajati lalitam vepamana gulmac-channam vanam uru-nagaih sampraviddham | ha ha kastam kim idam iti no vedmi midho vyaktam krodhae-charabha-lalitam kartu-kama ॥

This beloved lady goes trembling in a graceful manner to the forest covered with shrubs and interspersed with high hills. Ah, what a pity, the fool that Iam,I could not understand that due to anger she is openly playing the graceful role of an young elephart.

Nandimukhi

73. [The metre with] the feet of fifteen Syllables of which the first six, the tenth, and the thirteenth are light [and the rest heavy] is called Nandimukhi.t |

Example : 74. - na khalu tava kadacit krodha-tamrayataksam bhrukuti-valita-bhahgam drsta-piirvam maydsyam | kim iha bahubhir uktair ya mamaisa hrdistha tvam asi madhura-vakya devi nindimukhiva 1!

Never before have I seen your face with eyes red in anger and with eyebrows curved in frowning ; O lady, what more shall I say? Are you the [same] sweet-tongued one who resides‘ in my heart and is like Nandimukhi ?

Gaja-vilasita

75. [The metre with] the feet of sixteen syllables of which the first, the fourth, the sixth and the last are heavy [and the rest light] is called Gaja-vilasita.

72 (C.69, B.XV.92).

73(C.70, B.XV.93). 4 Scheme (८ ९१५ UUY, ---, ८--, ८ ~ ~), This is called Malini by Piigala and his followers.

74 (C.71, B.XV.94).

75 (C72, B.XV.95, 96). + Scheme (- UU, - ७ ~, ८८७८, UUY, ८७८९१ ~). This 18 called Rsabha-gaja-vilasita by Pingala and his followérs.

eXVI. 79} METRIOAL PATTERNS 979

Example :

76. toyddhariah sudhira-ghana-patu-pataha-ravaih sarja-kadamba-nipa-kutaja-kusuma-surabhim | kandala-séndragopaka-racitam avanitalam viksya karoty asau vrsabhasgaja-vilasitakam ॥

On seeing the surface of the earth adorned with the Kandala and the Indragopa, and perfumed with the flowers of Sal, Kadamba य, Nipa?, and Kutaja, which open at the [कात्‌ and clear drumn-like peals of thunder (lit. sounds of the clouds) this [man] imitates the sportful movement of a bull-elephant.

Pravara-lalita

77. [The metre with the] feet of sixteen syllables of which of the second, third, the fourth, the fifth, the sixth, the twelfth the thirteenth, the fifteeth and the last are heavy [and the rest light]

ois called Pravara-lalita,’ Example : 78. nakhélidham gitram dagana-khacitam costha gandam dirah puspénmigram pravilulita-ke<4lakantam | gatih khinna céyam vadanam api sambhranta-netram aho slaghyam vrttam pravara-lalitam kama-cestam ॥

Her body has heen seratched by nails, and lips and the checks are bitten by teeth, the head is set with flowers, hairs have their ends dishevelled, and l:er gait is languid, and the eyes ave restless. Ah, a very graceful exploit of love, has taken place in a praisworthy manner.

4 = Sikharini

79, [The metre with] the feet of seventeen syllables of which the second, the third, the fourth, the fifth, and sixth, the twelfth,

76 (C.73, B,XV.97). 7 Kadamba and nipa are usually considered synonymous. It is just possible that there sare two different trecs with these two names and later writers have ignored the difference which may be very slight. It may be noted here that the Concise Oxford Djetion- ary defines #¢f@ as a ‘kind of E. Indian palm’.

` + See note 1 above, :

77 (C.74, B.XV.98, 99). Scheme (U - -,---, VU, UU ¬ - ९

~ -). . 78 (0.78, B.XV.100). * 79 (0.76, ९.2 ए.101, 102),

280 THE NATYASASTRA [ XVI. 80.

‘the thirteenth and the last are heavy [and the rest light] is called Sikharini.? Example :

80. mahanady&bhoge pulinam iva te bhati jaghanam tathdsyam netrabhyam bhramara-sahitam pankajam iva | tanu-sparéaé cdyam sutanu sukumaro na parusah stanabhyam tuigibhyim sikhari-nibha bhasi dayite 4

Your hip is like the sand-bank at the margin of a river,

your face together with the eyes, is like a lotus with the bees, the touch of your body is soft and not rough ; with your two elevated breasts you look like a hill with [two] peaks, O dear one,

Vrsabha-cestita

81. [The metre with the] feet of seventeen syllables of which the first five, the eleventh, the thirteenth, the fourteenth and the sixteenth are light [and the rest. heavy] is called Vrsabha-cestita.!

Example :

82. jalada-ninddam ¢rutva garjan madoceaya-darpitah vilikhati mahim ¢rigaksepair vrsah pratinardya ca | sva-yuvati-vrto gosthad gostham prayati ca nirbhayo vrsabha-lalitam citram vettam karoti ca Midvale

On hearing the thundering noise of the clouds the bull

maddened with an excess of rut, is striking the earth with its horns and is bellowing in reply. And then, surrounded by young females of its class it goes fearlessly from one cow-pen to another and has the various sportive exploits on the green [pasture|.

॥ = == Sridhara

83. [The metre with] the fect of seventcen syllables of which the first four, the tenth, the eleventh, the thirteenth,

as

1 Scheme (U - ~, - - ~, ८८८, ९१ ८१~, - ९८७९), ९) ~). 80 (6.77, B.XV.103).

81 (C.78, B.XV.104, 105). 1 Scheme (0 UU, UU-, --~ - «~, १० ८१- ९१ -). This is called Harini by Pitgala and his followers. * 82 (C.79, B.XV.106). 88 (6.80, B.XV.107-108, 109).

“XVI, 87] METRICAL PATTERNS 281

the fourteenth and the last are heavy [and the rest light] is called Sridhara.? Example : 84,

snanais cirpaih sukha-surabhibhir gaada-lepaié ca dhiipaih puspais canyaih sirasi-racitair vastra-yogaié ca tais taih | nana-ratnaih kanaka-racitair anga-sambhoga-samsthair vyakam kénte kamala-nilaya sridharévati bhasi ॥

O beloved one, by your bathing, powders, pleasently fragrant paste smeared on your cheek, the [hair-perfuming] incense, flowers set on the hair (lit. head), various elothes and many jewels com- bined with gold worn on the limbs, you shine indeed very much like the lotus-dwelling [one] who is the goddess of beauty.

Vamsa-patra-patita

85. [The metre with] the feet of seventeen syllables of which the first, the fourth, the tenth and the last are heavy [and the rest light] is called the Vamsa-patra-patita.?

Example : 86. esa gajo’dri-mastaka-tate kalabha-parivrtah kridati veksa-gulma-gahane kusuma-bhara-nate | megha-ravam nigamya muditah pavana-java-samah sundari vamsa-patra-patitam punar api kurute ॥

O fair lady, this elephant which surrounded by young ones is playing near the peak of the hill in the thick forest of trees and shrubs bent with flowers, is delighted to hear, the roaring of clouds and is moreover causing, like the wind, the bamboo leaves to fall [on the ground],

Vilambita-gati

87. [The metre with the] feet of seventeen syllables of which the second, the sixth, the eighth, the twelfth, the fourteenth,

+ Scheme (- - ~). - UU, ८८५८), ~-U, -- ८“, - ~). This is called Mandakranta by Piigala and his followers.

84 (C81, B.XV.110). .

85 (C.82, 3.४.111). 2 Scheme (- ८८१, -U- UVUU, - ९, ९) ५५०७, -)., 86 (6.83, B.XV.112). 87 (0.84. B.XV.113-114, 115), 36

282 THE NATYASASTRA [ XVI. 88

the fifteenth and the last are heavy [and the rest light] is called Vilambitagati. Example: 88. vighirnita-vilocan’ prthu-vikirna-hara punah pralamba-ragana calat-skhalita-pada-manda-krama | na me priyam idam janasya bahumana-ragena yan madena vivasa vilambita-gatih krita tvam priye | O beloved one, your eyes are rolling, the large necklace is displaced, the girdle is hanging loose, and your slow steps are faltering ; I indeed like? this your slow gait that you assume out of overwhelming pride due to this man’s love and respect [for you].

Citra-lekha

89. [The metre with the] feet of eighteen syllables of which the first five, the eleventh, the twelfth, the fourteenth, the fifteenth, the seventeenth and the last ure heavy {and the rest light) is called Citra-lekha?.

Example :

90.

nana-ratnddhyair hahubhir adhikam bhiisanair ahga-samsthah

nand-gandhddhyair madana-jananair anga-ragai§ ca hrdyaih t

kegaih snandrdraih kusuma-racitair vastra-ragaig ca tais tail

kante samksepat kim iha bahuna citra-lekhéva bhasi ॥

0 beloved one, you shine very much with the many be-

ejewelled ornaments worn in your limbs, various pleasant cosmetics

rich in passion-inspiring scents, hairs clean after bath and decorated with flowers, and varied colours of your clothes. What shall I say more ? To be brief, you appear like a painted picture.

‘Scheme (U-U, UU~ UU, UU-) UA ८, U-). This is called Prithvi by Pingala and his followers.

88 (0.85, B.XV.116). 1 lit. Is it not dear to me ?

89 (C.16, B.XV.117). } Scheme (---, - - U, VUUU, U-7, ७ - - ८ ~ ~). This is called Kusumita-lata-vellit® by Piigala and his followers.

90 (0.87, B.XV.118).

-XVI. 96 J METRICAL PATTERNS 283

Sardtla-vikridita

91-92. [The metre with] the feet of nineteen syllables of which the first three, the sixth, the eighth, the twelfth, the thir- teenth, the fourteenth, the sixteenth, the seventeenth and the last are heavy [and the rest light] is called Sardilavikridita?

Example :

93.

nana-Sastra-sataghni-tomara-hatah prabbrasta-sarvayudhah

nirbhinnédara-pada-bahu-vadana nirbhartsitah gatravah |

dhairy6tsaha-parakrama-prabhrtibhis tais tair vicitra-gunaih vrttam te ripu-ghati bhati samare sardila:vikriditam ॥

The enemies have been repelled after [some of them have been] killed with various weapons, Sataghni and ‘Tomara and [some have] their bellies, arms, feet and face pierced and [some have] lost ul their weapons. Your enemy-killing exploits in battle comparable to the tiger’s sports and characterised by virtues such as, patience, energy and valour, are splendid.*

Suvadana

94-95. [The metre with the] feet of twenty syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the sixteenth and the last are heavy [and the rest light] is called Suvadana.!

Example :

96. netre lilélasante kamala-dala-nibhe bhrii-capa-rucire gandéstham pina-madhyam sama-sahita-ghanah snigdhiaé ca daganaly! karnav amsa-pralambau cibukam api natam ghona surucira vyaktam tvam martya-loke varatanu vihitdésyéka suvadana ॥

91-92 (C.88-89, B.XV.119, 120,121. 4 Scheme (---, U ta-ju - ५१, ८९१ ~, -- <, - - ५, ~¬).

98 (6.90, BXV.122). 'B. gives an additional example of this (B.XV.123).

94-95 (C.91-92, B.XV.124-125, 126). 1 Scheme (- ~ ~, - U-7 UU, ५०५१९ ~ -~, -५६\), ~).

96 (0.98, B.XV.127).

984 THE NATYASASTRA , [ XVI. 97-

Your eyes are like lotus-patals, beautiful with the bow-like eyebrows and their ends are playfully lazy ; the cheeks and lips are plump in their middle, the teeth are all equal, in a line, thickly set and shining, the ears are hanging down as far as the shoulders, the chin is bent and the nose is beautiful, 0 fair lady, in this mortal world you are indeed the only fair-faced woman whose face has been [carefully] fashioned.

४ Sragdhara 97-98. [The metre with] the feet of twentyone syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the seventeenth, the eighteenth, the twentieth and the last are heavy [and the rest light] is called Sragdhra.? °

Example :

99. cutaéSokaravindaih kuruvaka-tilakaih karnikaraih éirigaih punnigaih parijatair vakula-kuvalayath kiméukaih sdtimuktaih | ` etair nana-prakiraih_ kusuma-surabhibhir viprakirnais ca tais tair vasantaih puspa-vrndair naravara vasudha sragdharévadya bhati ॥

O king (lit. hest among men), due to the many and various sweet smelling vernal flowers such as, Citta, Asoka, Aravinda, Kuravaka, Tilaka, Karnikara, Sirisa, Punnaga, Parijata, Vakula, Kuvalaya, Kimsuka and Atimukta, this earth looks today like a woman wearing [many] garlands of flowers.

Madraka

100-101. [The metre with] the feet of twentytwo syllables of which the first, the fourth, the sixth, the tenth, the twelfth, the sixteenth, the eighteeenth, and the last are heavy [and the rest lightTis called Madraka?.

97-98 (C.94-95, B.XV.128-129, 180). 1 Scheme (---, - ७ ~, - ८७९१ VVV,U--,0--U--), 99 (C.96, B.XV.181).

- 100-101 (C.97-98, B.XV.182-133, 134). ' Scheme (- ७ ८, - U-, UU ८ - 0 ~ ५७८५-८, ८0.0८७, -~). |

-XVI. 105 ] METRICAL PATTERNS 985

Example :

102. udyatam eka-hasta-caranam dvitiya-kara-recitam suvinatam vamnsa-mrdanga-vadya- madhuram vicitra-karandnvitam bahu-vidham |. madrakam etad adya subhagair vidagdha-gati-cesitiah su-lalitair nrtyasi vibhramakula-padam vivikta-rasa-bhavitam fasi-mukhi ॥

O fair lady (lit. moon-faced one), you are dancing to- day in accompaniment of sweet sounds of ftutes and drums the Madraka* dance with one of your hands raised up and another bent, and your feet are restless in a hurry. And you are making happy, clever and graceful movements in pursuance of many and various Karanas, and this dance is imbued with a distinet. Sentiment (vas),

Agyalalita

102-104. [The metre with] the feet of twentythree syllables of which the fifth, the seventh, the cleventh, the thirteenth, the seventeenth, the nineteenth and the last are heavy [and a the rest light] is called Agvalalita.?

Example : 10. = vividha-turafga-naga-ratha-yaudha- samkulam alam balam samuditiun Sura-Sata-sakti-kunta-parighasi- yasti-vitatam balu-praharanam | ripu-sata-mukta-sastra-rava-bhita- Samkita-bhatam bhaydkulam idam krtam abhiviksya samyuga-mukhe samipsita-gunam tvayasvalalitam ॥

[Even after] seeing this completely assembled army consisting of many horses, elephants, chariots and fighters, the manifold assaults spread by hundreds of arrows, darts, javelins, clubs’ ind swords, and the foot-soldiers terrified and afraid on account of the

102 (C.99, B.XV.185). ' See NS. IV. क

103-104 (C.100-101, B.XV.136-137, 188). 1 Scheme (U UU, ८, -९॥, “UY, U-U, - ५०९), U-U,-UU,U-). ध

105 (C.102, 2.2 ४५.139). ’

286 THE NATYABASTRA (XIII, 106.

noise of released missiles, and the terror-strickeh directions, you have practised in the forefront of the battlé the sportful movements of a horse, the merit of which is very much desired [by people}.

Megha-mala

106-107. [‘The metre with] the feet of twentyfour syllables of which the first six, the eighth, the eleventh, the fourteenth the seventcenth, the twentieth and the twentythird are light [and the rest heavy] is called Megha-mila.!

Example : 108, pavana-vala-samahata tivra-gambhira- nada balakévali-mekhala ksitidhara-sadrédcea-ripa mahanila- dhumAiijanabhambu-garbhédvaha | sura-patiedhanur-ujjvdla-baddha-kaksya tadit-dyota-sannaha-patt6jj valii- gagana-tala-visirini pravrsenya drdham megha-mala ’dhikam sobhate ॥

The sky-covering mass of clouds of the rainy season, having deep and piercing sounds, wearing a flight of cranes as their girdle, carrying in their womb water of deep blue colour comparable to that of smoke and collyrium, girding the waist with the. rainbow as the belt, having their armour-plates illumined by the flash of lighting looks indeed very beautiful.

Kraufica-padi

109-110. [The metre with] the feet of twentyfive syllables of which the first, the fourth, the fifth, the sixth, the ninth, the tenth, and the last are heavy [and the rest light] is called Karuiica-padi.?

106-107 (C.103-104, B.XV.140-141, 142). ' Scheme (UU U,U UY, -\ ¬ - U HUT, HUA -“ ¬, UH). 108 (C.108, B.XV.143).

109-110 (C.106-107, B-XV.144-145, 146), `" Scheme (- Uv, - ~ ~; VU - ज «+» ज 0८ ८८७५, ८७८८, UUYU,-)

-XVI. 114 J . METRICAL PATTERNS 287

Example : 111. yah kila daksam vidruta-somam kratuvaram

arcamasam apagata-kalagam

patita-yiipam ksipta-casalam vicayanam a-samidham a-pasukam acarukam |

karmuka-muktendgu cakiira vyapagata- suragana-pitr-ganam isuna

nityam asau te daitya-ganarih pradahatu makham iva ripu-ganam akhilam ॥

Let Siva (lit. the foe of the demons) who by arrows dis- charged from his bow quickly spilled the Soma-juice, threw away the Camasa, broke the Kalaga, felled the Yiipa, dislodged the Casala, put out the fire, destroyed the fuel, scared away the [sacrificial] animals, spilled the Caru and put the gods and the Fitts to flight in Daksa’s great sacrifice, always destroy all your enemies like the same (sacrifice).?

Bhujaiga-vijrmbhita

112-113. [The metre with] the feet of twentysix syllables of which the first eight, the nineteenth, twentyfirst, twentyfourth and the last are heavy [and the rest light] is called Bhujahga- vijrmbhita.*

Example : 114 riipdpetém devaih srstam samada-gaja- vilasita-gatim niriksya tilottamam pridaksinyat praptam drastum bahu-vadanam acala-nayanam Sirah krta-van harah | dirgham nihsvasy4ntar-gudham stana-vadana- jaghana-ruciram niriksya tatha punah prsthe nyastam devéndrena pravaramani kanaka-valayam bhujanga-vijrmbhitam 4

111 (C.108, B.XV.147) ° B. gives one additional example (B.XV.148) which occurs in Halayadha’s commentary to 07818.

112-113 (C.109-I10, B.XV.149-150). + Scheme (- ~ =, ~ = ~> - - ८, (७५७५१ ८७८५, ८५८८, -८-, ८८.)

114 (C.111, B.XV.151).

988 THE MATYASASTRA ` (XVI. 11;

Seeing the beautiful Tilottama created by the gods with the gait of an elephant ‘in rut, while she came to circumam. pulate him, Siva fixed all the eyes om her and kept his heads and mouths motionless. And: then the lord of gods (Siva) on seeing *her who was beautiful on account of her breasts, face and the hip, sighed silently and put away on his back the golden bangles set with the best of jewels in which snakes were yawning.

The uneven and the semi-even metres

115. These are, 0 the best of Brahmins, the even metres I mentioned {before}. Now listen about the uneven and the semi-even metres.

116. The metres’ of which the fect belong to different, metrical types and are dissimilar, are called uneven (पृण),

117-118. The metres in which the two [alternate] feet are similar while the two [contiguous] fect are not similar, are called semi-even («rdha-sama), And the metre in which all the feet are dissimilar is called uneven. ‘The semieven metre is to have its even and odd fect dissimilar and the first of such groups of feet may be shorter or longer than the rest or one of them may he longer and the other shorter than the rest. `

Even metres

119. Aneven metre is defined hy defining one of its feet while uneven metre requires the definition of all its fect. And from a definition of the two feet the semi-even metre is known. This is the division of feet [in different semi-even metres].

120. [have described the even metres with reference to their divisions of feet. Now I shall describe the characteristics of the uneven metres in terms of triads, (1.९, yanas),

1149, (C.112, B.XV.153). 1 According to ए. it is spurious,

` 114 (C.118, B.XV.154). 115 (0.114, B.XV.155). 116 (C.115, B.XV.156). 11-118 (C.116-117, B.X.V.157- 158). ‘119 (C.118, BXV.159), * 120 (C.119, B.XV.160)

XVI. 124 J METRICAL PATTERNS 989 Pathya

121. I£{in Anustup], the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga and such will be the remaining even and odd feet?, it is called Pathya?.

Example :

122. priya-daivata-mitrasi priya-sambandhi-bandhaya! | 4priya-dana-rata pathya dayite® tvam priydst me ॥

You respect the gods and the friends, you love the matri- monial relations and the kinsmen, you are disposed to make affectionate gifts and you are agreeable, O beloved one, you are dear to me.

Uneven Pathya

123. [The Anustup metre of which] the first foot contains ma, ra, ga, ga, the second ya, sa, la, ga, the third ra, bha, la, ga and the fourth ja, sa, la, ga [is called un all-uneven (sarva-vigama) Pathya]*.

Example :

124. naivdcdro, na te mitram na sambandhi-guna-kriya? | sarvathi sarva-visama pathya na bhavasi priye ॥ O dear one, you have no [good] conduct, no friend and

you have no good action towards the relatives and are in every way very rough ; so you are not agreeable.

121 (C.120, B.XV.162). 1 C. gives the correct reading yugmau- jakau ‘even and odd’ (feet).

° (क) vu -,uu-,--and (वा & 1४) ५९ -U «+ -

129 (C.121, B.XV.163). | C..datvata-for sambandhi,

2 ©, vara for rata,

3 ©. yadyapt for dayite.

198 (C.188, BXV.164). 2) ---, - < ¬, - ¬, ता) ५ - ¬+ ५ <” ~, (वा) - ८ ~, - “५ ८ ~, (IV) - ५, ८८, ~~

194 (0.184, एप ए). › 8, priya for कत.

37 |

290 THE NATYASASTRA [ XVI. 125-

Inverted Pathya

125, These are the characteristics of the first and the third 86१, They being’ inverted ic. the second and the fourth being of this description, the metre will be called the inverted Pathya.

Example : 126. krtena ramanasya kim sakhi rogena te’ pyartham | viparita na pathy4si tvam jade kena mohita} ॥

What is the use of this anger shown to your beloved one ? {It seems that] you are foolish and have been deluded by some- body and have been upset, [so] you are not agreeable.

Capala

127, [The metre with the fect of eight syllable of which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anustup Capali.?

Examples : 128. 78 khalv asyah priyatamah srotavyam vyahrtam sakhya | naradasya pratikrtih kathyate capala [एषा ॥

[He] is not this girl’s dearest one. This [information] to

be heard [privately] was proclaimed loudly by the female friend.

` This fickle woman is indeed [to be] called an image of Narada (the deity of quarrel),

Vipula

129. [Ifa metre with the feet of eight syllables has] the seventh syllable short in its second and the fourth feet, it is

125 (C.122, B.XV.166). 1" A passage before this seems to be lost. ©. reads yugmayor—of the two even (feet). B. has ayujor—of the two odd (feet).

126 (C.128, B.XV.167).-1 We -adopt B'sreading, (I) U-u, vu-~,v~ (i) vu--u--- वा) ~~ -५ ~ ५ ~, व$) vu-7 - ६ =, - व

127 (C.124, B.XV.168), 1 6, णु for capala.

198 (60.125, B.X'V,169). 129 (C,126, 2. १70).

XVI. 186 J METRICAL PATTERNS 291

called [Anustup] Vipula, According to some? the seventh syllable in all the feet will be short in [such] Vipula. Example : .

180. samksipta vajravan-madhya hema-kumbha-nibha-stani |

vipulasi priye sronyam piirna-chandra-nibhanane ॥

O dear one, you are thin [in body], your waist is slender in the middle like a Vajra, your breasts are like golden pitchers, your hips are large and your face is like the full moon. -

131. gangéva tvam meghdgame 4plavita-vasundharg |

kula-vrksan arujati sravanti vipulacalat? ॥

You are like the Ganges at the advent of the rains, flooding the earth, destroying the trees on the bank arid flowing down from a highsmountain

132. The feet of Pathya are thus of various types; in the remaining [types of Anustup] even and odd feet may be made up with other triads (trika)?.

133. In this metre a triad ending in a heavy syllable (i.e. ma, ra, Ya, sa) or consisting of light syllables (i.e. na) is never to occur (it. desired) after the first syllable while after the fourth syllable a short syllable must occur (lit. is prescribed).

134. If in the feet of a Pathya there are three heavy syllables at the end it is called [Anustup] Vaktra.

Example :

135. danta-ksatadharam subhru jagara-glana-netrantam |

rati-sambhoga-khinnam te darganiya-taram vaktram ॥

0 fair lady, the lips being bitten by teeth, eyes being languid due to keeping awake, your face has become more charming, after its exhaustion in love’s enjoyment. ,

1 Saitava—mentioned in 17918 and Agni P. See CSS. p. 38. 180 (6.19, BXV-171). ` 181 (C.128, B.XV.172). | B.C. ganat for calat. % 182 (C.129, B.XV. 174). |! We follow B. 138 (C.130, B.XV.175). 184 (C.181, B.XV.176). a 185 (C.132, B.XV.177).

999 THE NATYASASTRA [ XVI. 196.

136. These are all-uneven metres of the Anuistup class. The authorities differ from one another as regards [the arrange- ment of] the triads and syllables.?

Vanavasika

187. The metre which has its fect consisting of sixteen Matras as parts of Gatha to be divided into four sections in terms of triads and the part of a triad, is called Vanavasika.*

Example : 128. asamthita-pada suvilivalangi mada-skhalita-cestita-manojiia | kva yasyasi varoru surata-kale visama kim vanavasika प ॥

O fair lady, your gait is unsteady, limbs are agitated, and your faltering movements due to ardent passion are charming, Where are you going at the time of love’s enjoyment? Are you a perverse woman of Vanavisi ?

Ketumati 139. The metre of which the first and the third feet consist of sa, ja, sa, ga and the second and the fourth bha, ra, na, ga, is called Ketumati! Example : 140. sphuritadharam cakita-netram rakta-kapolam ambuja-dalakgam | kim idam ros&pahrta-sobham ketumati-samam vada mukham te ॥ Your lips are throbbing, the eyes which are like lotus-petals are trembling and the cheeks are red. Tell me why has your face robbed of its beauty by anger, become like Ketumati (Hame) ?

186 (B.XV.178). ` ©. omits this.

137 (C.146, B.XV.179). ` Pingala calls this Matrasamaka. His Vanavasika is simply a variety of this. See CSS. p. 21.

188 (C.147, B.X'V.180).

189 (C.140, BXV.181). ' Scheme: I&II) uu-, u-U,uU-, + व &1IV)-Uuu,-vu-,vuu,--

140 (C.141, B.XV.182),

-XVI. 145] METRICAL PATTERNS 298

Apaarvaktra

141, Ine the metre called Aparavaktra the first and the third feet consist of na, na, ra, la, ga and the second and the fourth of na, ja, ja, ra.

Example : 142, sutanu jala-parita locanam jalada-niruddham ivéndu-mandalam | kim idam apara-vaktram eva te Sasi-vadane’dya mukham parafi-mukham ॥

O fair lady (lit. moon-faced one) why are your eyes full of tears and why do you look like like the orb of the moon obscured by the clouds and why has your face turned today like some one else’s face ?

Puspitdgra

143. In Puspitagri metre the first and the third feet consist of na, na, ra, ya, and the second and the fourth of na, ja, ja, ra, ga.?

Example : 144. pavana-raya-vidhiita-caru-sakham pramudita-kokila-kantha-nada-ramyam | madhukara-parigiyam™na-gabdam varatanu pasya vanam supuspitagram ॥

O fair lady, look at the top of the blossoming forest in which the wind is shaking the beautiful branches of trees, the gladdened cuckoos are singing with sweet voice and the bees are humming all around.

Udgata 145. In Udgaté metre the first foot consists of sa, ja, sa,

141 (C.142, B.XV.183, 184). ` Scheme: (I&II) ८७०८७५८, ८७५८५); v> वा & ४) ८५८९, - ८), v-u,-U-,

142 (C.132, B.XV.177). ९

143 (60.144, B.XV.186). ' Scheme (व & I) ५७५५९, 0८८), -\ ~. ८- ~, वा & ४) ८८८८-८, -५,-५ ¬ 144 (C.145, B.X'V.187). . 145 (C.135, B.XV.188).

294 THE NATYASASTRA [ XVI. 150.

la, the second of na, sa, ja, ga, the third of bha, na, ja, la, ga and the fourth of sa, ja, sa, ja, ga Example : 146. tava romarrajir atibhati sutanu madanasya manjarim | nabhi-kamala-vivardtpatita- bhramaravaliva kusumat samudgata ॥

O fair one, the hairs which rise from the hollow of your lotus-like navel are comparable with a swarm of bees coming out of flowers and they exceed in beauty Cupid’s blossoms.

Lalita

147. The metre Lalité has its first foot consisting of sa, ja, sa. la the second foot of na, sa, ja, ga, the third foot of na, na, ga, sa, and the fourth foot of sa, ja, sa, ja, ga.?

Example :

148. lalita kula-bhramita c&ru-vasana-kara-caru-pallava | pravikasitakamala-kanti mukhipravibhasi- devi surata-sramaturiil

O lady, hurriedly but gracefully moving the beautiful clothes and the delicate hands and having a blooming lotus-like face you look charming after the fatigue of love’s sports.

149. These are the syllabic metres of the even and uneven types, to be used in dramas and poems.

150. ‘There are besides many other syllabic metres which have been mentioned here collectively. They are not to be used because they do not embellish [a composition].

~ = = == a ----- al se a

1 Scheme (I) U U-, U-U, UU-,Y, चा) ८८५, VU, ७ - ५, ~ (I) - ८८१ ८७५८१, ८- <~ ~ वष) ८५५, U-uU, ८७0, - ५), -

146 (C.136, B.XV.189).

147 (C.137, B.XV.190). + Scheme (1 & IL) same as in Udgata. (III) ५५५०५८१, VVY,UU-, UU- (IV) VU-U-u0, VU U-Y, Pitgala’s Laliia has the fourth foot similar to that of Udgata

148 (C.133, B.XV.191).

149 (C.148, B.XV.192), 150 (C.149 B.XV.193).

XVI. 158 | METRICAL PATTERNS 295

151. The syllabic metres forbidden here after may be used in songs. I shall describe their varieties while treating the Dhruvis,

Arya metres

152. This is the definition of various syllabic metres briefly treated by me. Next T shall give the definition of the Aryas. | ।

155. The Aryas are of five types, viz, Pathya, Vipuls, Capala, Mukha-capala, and Jaghana-capala.

154. I shall speak about their caesura and division of Matras and their varieties depending on Ganas which have been prescribed as characteristics of these.

155. In these metres the cesura marks the division [of feet}, the Gana consists of four Matris, the second and_ the fourth (lit. the last) feet are the even ones, and the first and the third (lit. the rest) odd ones.

156. [In an Arya] the odd Ganas consisting of four Matras should have no ja and the even Ganas may be of any type according to the choice [of the poet].

156 8. The eighth Gana in every Arya is to be known as half a Gana (i.e. two Matris).

157, The sixth Gana may be of two alternative types and the eighth will consist of one [syllable]. The sixth Gana in the second hemistich will consist of one Matra only’.

158. In one alternative is that the sixth Gana will be ja, (u - u,) and in the other it will consist of four short syllable, (u uu ९) and these relate to the caesura (yati).

151 (C.150, BXV.194). 152 (C.15], B.XV.195).

153 (C.152, B.XV.196). 154 (C.153, ए. V.197). 155 (C.154, BXV.198). 156 (C.155, B.XV.199, 211, 289).

ह ~ 157 (C.156, B.XV.200, 208b-209a). ' Read 157b (with C) as vara यो गणः षष्ठ एकमातः सं उच्यते, ` 158 (6.17, ए.2एए.201, 209b-210a).

296 THE NATYASASTRA [ XY. 169.

159. The caesura may occut when the second la after the fifth Gana has been completed or it may occur from the first syllable [of the sixth Gana], or after the fifth Gana [088 been completed].7

Pathya-Arya and Vipula-Arya

160. ‘The Arya metre of which the caesura occurs after the three Ganas (lit. feet are made up of three Ganas) is called Pathya. The Vipula Arya is different from this, only because it observes no cesura (yati) of any kind [within its hemistichs},1

Examples : Pathya Arya

161,

rakta-mrdu-padma-netrasita-dirgha-bahula-mrdu-(kutila]-kesit

kasya tu prthu-mrdu-jaghana tanu-bahvamsddari [na] pathya ॥

To whom is not agreeable a woman with lovely and lotus-like soft eyes, copious long, black and {curled} hairs, large and soft hip, slim arms and abdomen ?

Vipula Arya 162. vipula-jaghana-vadana-stana-nayanais tamradhardstha-kara-caranaih | diyata-nisa-gandair lalita- caranaih gubhii kanyé ॥

A maiden is auspicious when her hip, face, breasts and eyes are large, lips, palm and fect are red and _ nose, checks, forehead and ears are prominent.

। (णाश Arya 168. In the Capala (Arya) the second and the fourth

159 (C.158, B.XV.202, 210b). + Read 159 as fedtafe लरषुेयः eat vat यतिः. 160 (C.159, B.XV.203). ' Read the couplet as रेषु fag पाद; खात्‌ यखा पष्यातु ar aay | wae fagqran तु विन्ेयाऽधतिलचण. 161 (C.160, B.XV. 218). * 162 (B.XV.214). 163 (B.XV.215, 204).

-XVI. 167] METRICAL PATTERNS 297

Ganas in each hemistich are to consist of a ja (lit. Gana with a heavy syllable in the middle). Example : 164, Judbhartr-gamini paruga-bhasini kama-cihna-krta-vesi | 7ya ndti-mamsa-yukta sura-priya sarvatas capala ॥

The woman who goes defying her husband, speaks harshly, has erotic signs in her dress, is not very'fleshy and is fond of meat, is inconstant in every respect.

Mukha-capala and Jaghana-capala Arya

165. When the definition of a Capala applies to the first hemistich [only] of an Arya it is called the Mukha-capala. And when the same applies to the second hemistich [only] it is called Jaghana-capala.

Examples : Mukha-capala Arya

166. arya mukhe tu capala tath4pi carya na me yatah sa tu |

daksa grha-krtyesu tatha duhkhe bhavati duhkharta ॥ My lady is talkative, but still her conduct {in general] is not bad, for she is an expert in my household work, and in my misery she feels miserable. Jaghana-capala Arya

167. vara-mrga-nayane capaliasi varoru sasanhka-darpana-nibhasye | kamasya sarabhiitena

pirna-mada-caru-jaghanena ॥

0 fair lady with the eyes of the best deer, and a face like the moon or the mirror, by your hips which constitute the best prize of love and which are charming on account of your swelling passion, you are [marked as] faithless (lit. inconstant).

164 (B.XV.216). 1 B. reads udbhata. 2B. reads jamats, for ya एदा. Prof. S. P. Bhattacharya suggested this emendation ; 165 (B.XV.217). 166 (B.XV.218). 167 (B.XV.219). 38

` 998 THE NATYASASTRA [ XVI. 168-

168. When the two hemistichs of a Capala have the same characteristics it is called the all-round Capala.

169. This metre is known have thirly Mates in its first hemistich and twenty-seven in the second’.

170, Following these rules (lit. thus) one should compose plays (lit. poetical composition) utilising (lit. having) therein different metrical patterns belonging to (lit. arising from) different Rhythm-types, and such plays are to have the thirtysix -character- istic marks (lahsanc).

Here ends Chapter XVI. of Bharata’s Natyasistra which treats of the Metrical Patterns. 168 (B.XV.220 ; (.162b-168a), 169 (B.XV.205, 201 ; C.163b-164a,). ' The five couplets after this

(B.XV.229-226) are corrupt and appear to be spurious. These will be discussed in the Introduction,

170 (C.186b-189, B.XV.227).

CHAPTER SEVENTEEN DICTION OF A PLAY

Thirtysix marks of a good play

1-5, The thirtysix characteristic marks (Jasna)? of [a good] dramatic composition (kaya)? are as follows : Ornateness (bhiisant), Compactness (altsara-simyhata), Brilliance (ubha), Parallelism (d@harana), Causation (het), Hesitation (semsaya), Favourable Precedent (iystauta), Discovery (prapti), Fancy (abhiprayu), Unfavourable Precedent (nidarsana), Convincing Explanation (11), Persuation, (si/dhi), Distinetion (otgesane),

1-5 (C.1-3, B. p.348-350, XVI1-5). + About the significance of the the term aksana, the commentators of the NS. are not at all unanimous. Ag. mentions no less than ten different views on the subject. Tvidently some of these are far-fetched and off the mark. It seems that /aksana in this connexion is comparable to the same word occurring in the com- pound word mahapurusa-laksana (characteristic marks of a superman). According to one view this éaksana differs from the alamkara (ornament) and the gana (qualities) of a person as figures of speech (a/améara) and execllences (gna) of a composition differ from its characteristic marks (Jaksana). The composition in this connexion is evidently a dramatic one though some of the commentators think otherwise. For a discussion on the position of éaksanas in the history of the Alamkara literature 800 8. K. De, Skt. Poeties, I. pp. 4-5; see also Ramakrishna Kavi, (B.ILpp. 348 349) and V. Raghavan’s paper on Laksanas in the Journal of Oriental Research, Vol. VI. pp. 70, 71, 81,82. Mss. of the Nb. fall into two distinct reeensions as regards the text treating the thirty-six laksanas. One recension followed by older commentators, and late writers like Viévanatha, and Siigabhtpala, uses Anustup verses for the enumeration of Jaksanas We have adopted this as the basis of our translation. The second recension which seems to be later, has been followed by commentators like Kirtidhara, Abhinavagupta and late writers like Dhana:jaya and others. This greatly varies from the other recension with which it has not more than seventeen names (of laksanas) in common, and among these, definitions of eight only are similar in both the recensions.

2 Kavya in this connexion means the dréya-kavya or dramatic composition.

300 THE NATYASASTRA [ XVII. 6.

Accusation of Virtue (gunatipata), Excellence (gunatisaya), Inference from Similitude (tulya-tarka), Multiplex Predication (padvecaya), Description (क्व), Pointed Utterance (upadista), Deliberation (cara), Inversion (viparyaya), Slip of ,Tongue (bhraméa), Mediation (annnaya), Series of Offers (mala), Clever Manner (daksinya), Censure (garhana) Presumption (arthapatti), Celebrity (prasiddhi), Interrogation (precha), Identity (काव); Indirect Expression of one’s Desire (manoratha), Wit (lesa), Concealment (samiszpa)*, Enumeration of Merits (yuna-kirtana), Semi-uttered Expression (anwkta-siddht) and Compliment (pri- yavacana = priokti),

Ornateness

6. ‘To adorn the composition with many figures of speech (aambara) and Gunas as if with ornaments, for ereat- ing manifold meanings is called Ornateness (/hiisana, lit. ornament)?,

Compactness

7. When an wonderful sense is expressed by means of a small number of syllables with double entendre, it is called themark named Compactness (alsara-samghata, lit. assemblage of syllables)?.

१ Emend samksobho to samksepo. Seo below 38 note 1.

6 (C.6; B.p 350, XVI.6) 1" A close study of Ag’s. commentary on passsages dealing with /aksanas is liable to give one an impression that the exact meaning of some of the terms at least relating to this subject, has been to some extent lost, and various explanations have been partly bascd on guess. But in the absence of anything better we are to depend on them though very cautiously. Definitions of various Jaksanas are mostly not at all clear without examples which have been very liberally given by Ag. To avoid prolixity we refrain from quoting them here. Interested persons may see them in the Baroda ed. of the Ns. (Vol. I pp. 294ff). For an oxample of dhtisana. See Kavi. As any old commentary to these (NS.) passages dealing with laksanas, bas not come down to us, we used in this connexion the one prepared by M. Ramakrishna Kavi, Sce ए. LI pp. 349ff. (Referred to as Kavi).

7(C.7; 77.860, इ णान), 1 See, Kavi.

“XVII. 191 DICTION OF A PLAY 301 Brilliance

8. If a charming and novel meaning [arises] when a less

known object is referred to by likening it to a well-known one,

and a wonderful sense is expressed through dowble entendre? it is called Brilliance (&0bAa, lit. beauty)

Parallelism

9, When by words expressing similar circumstances? a suggestion is cleverly made to accomplish an object, it is called Parallelism (wdaharana, lit. example)?.

Causation

10. When brief and pleasing words by the force of their [tactful] use achieve the desired object, it is called [an instance of] Causation (hetw)?

Hesitation

11. When due to many considerations a sentence 1 brought to an end without fully communicating the essential theme [in view], it is [an instance of] Hesitation (samésaya, lit. doubt).?

Favourable Precedent

12. That which supporting the case in hand? is an example of its reason and is pleasing to all people, is a Precedent Favourable to the speaker (drstanta, lit. example). +

8(C.8; 7.7 350, XVL8). 'C. yatra slistam oitsistyartham for yatra blists vrettrartha. Seo Kavi.

9 (C.9; 11.391, XVIL9). 1 ©. dvalpartha for tulyartha. Cf. SD438 Ag’s definition in trans. is as follows. When from the occurrence (ltt. stght) of a single word good many unmentioned ones can be inferred (lit, accomplished) it ts called Sample (udabarana).

10 (C.10; B.p 352, XVI.10). ' Cf. SD. 439. Ag. reads this defi- nition as follows : वदनां भाषमानानः व्ये कसयाथेविगिणयम्‌ । सिडोपसानध चने हैनृरिल्यभिरं्नितम्‌ (B.XVI.14), Its meaning is not clear, Ag.’s explanation does not seem to be convincing. Possibly there is textual corruption in this.

11 (611; B.p.352, XVI.11). | Cf. SD. 440.

12 (C.12; B.p.352, ४.12). 'C. paksapaksirtha for yastu aksartpha. Cf. SD, 341. Ag.’s text in translation is as follows: Zhat a

302 THE NATYASASTRA [ XVII. 13. Discovery

13. When on seeing some indications, the existence of something is assumed it becomes [an instance of] Discovery (prapti, lit. attainment)' which is included among the marks of a [good] drama,

Faney

1. When an idea interesting to people [but] hitherto non- existent, is conceived on the basis of similarity (of two objects], it is [an instance of] Faney (abhipraya, lit. belief)?

Unfavourable Precedent

15. When well-known instance are mentioned for rejecting the contrary view it is [an instance of] Unfavourable Precedent (nidavgana, lit example)!

Convineing Explanation

16. Words that are spoken in support of the meaning of some faultless statement made before, constitute Convincing Explanation (wirwhfa, lit etymology)!

learned person discovers similarity \of anything| with something per- cewed by him earlur, ts called Tlustration (dystanta). Of. the figure of speech of this name in SD. 697.

1> (CLL ; 7.7.353, NVL13)} Ch SD, 446, Ag. similar (B.XVI.32).

14 (C.14; B.p.3538; XV114) 1 SD. 445, Ag. reads this as a variant of yukti (B.XV1.36) which in translation is as follows: Zhe meaning which 1s made up only of many mutually compatible objects combining with one another, 1s called Combination (yukti). Cf. SD. 91. ,

18 ((.15; B.p.254, XVL15). See SD. 444. Ag. reads this as a variant asih (B.XVL28). The meaning of this def. is not जला, Ag. offers no explanation of this, but gives an example. which it is very difficult to fit in with the definition. Cf, SD. 471,

16 (C.16; B.p.254, XVI.16). ' Cf. SD. 458, Ags text in translation is as follows: xplanation (nirukta) 1s two kinds: factual and non- factual. [Of these] the factual [explanation] ts that which 13 well- known (lit. accomplished before), and the non-factual 1s that which has not been so (dit. not accomplished):

-XVIL. 21) DICTION OF A PLAY 303

Pursuation

17. When name of great persons are mentioned with a view to accomplish the object aimed at, it is [an instance of] Persuation (siddhi, lit. success)*.

Distinction 18. When after mentioning many well-known great objects

something is said distinguishing a thing from them, it is [an instance of] Distinction (vigesana)!.

Accusation of Virtues

19. When virtues are mentioned with sweet words of harsh import? which carry the contrary implication, it is [an instance of] Accusation of Virtues (gunatipata, lit. opposition of virtue)?.

Excellence

20. When after enumerating the qualities available in common men, one mentions some special qualities, it is [an instance of] Excellence (atigaya)=.

Inference from Similitude

21, When an object directly perceived is inferred from a mataphor or simile applied in an identical sense, it is [an instance

17 (C.17; B.p.854, BXXVIL17). | C. pravaktinim for pradhinianam, Cf, SD. 454. Ag. reads this with a slight variation.

18 (C.18; B.p.855, XVI.18). 1 Cf SD. 452. Ag. reads this as a variant of Asama (BXVI3L) which in translation is as’ follows : Vex one being hurt by harsh and provoking words utterred by a wicked person in the presence of good people, remains without anger, tt is (an rustance of | Forgivencss (ksami), *

19 (0.19; 7.7.38४, सरणा. 19) 1 C. madhuro nisthurirtho for madhu- ratr nisthurarthatr, Cf. SD. 450. Ag. reads this as a variant of gunanuvada (B.XVI.13a) which in translation is as follows: Eulogy (gunAnuvada) relates to inferior subjects compared with superior ones.

20 (C.20; B.p.388, ४1.20). | Cf. SD. 451 Aw’s reading (B.XV.13) in translation is as follows: When anything compares favourably to the best thing (to which tt can be compared] it is [an tnstancof] Evce lence (atisaya). 21 (C.21; 7.7.956, XVI.21).

304 THE NATYASASTRA { XVIT. 22-

-

of] Inference from Similitude (tulya-tarka, lit. reasoning from the comparables). *

Multiplex Predication

22. When a number of words are used along with a number of other words to form different groups for the same purpose, it becomes [an instance of] Multiplex Predication (padoceaya)®,

Deseription 23, When any object or incident directly seen or not, is described in harmony with locality, time or from related to it it becomes [an instance of] Description (ist). Pointed Utterance _ 24. When one says something of his own on the basis of Sistras and thereby pleases the learned, it isa Pointed Utterance (upadista, lit. utterance)+. Deliberation 25. That which establishes something not directly perceived and is in harmony with the meaning expressed carlier! and

1 Of, SD. 442. Ag. reads this is as’n variant of the definition of Exhortation (B.XVI.19) which in translation is as follows: To say something very pointedly through suggesting one’s own tdea by means of likening tt to others’ actions, ts called Evhortation (akranda). Cf. SD. 472.

92 (C.22 ; 8.7.356, XVI.22). ' Cf. SD. 443 Ag.’s reading in transla tion is 83 follows: When anything is described as possessing differ: ent aspects by means of many words of similar tmport, it rs [an instance of | Multiples Predication (padoceaya) which puts together many objects.

28 (C.28; B.p. 356, XVL23). ` BC. desta for dista CE SD. 448, Ag. reads this'as a variant of 54८04 (B.XVI,15) which is different from XVI.35 and is as follows :

wade परोचो गरख्मादूत्‌पदतिऽनुकर्यन | भचय-समानकरणात्‌ साङ्यं तत्तु विज्ञेयम्‌ ॥

24 (0.24; 77.857, 2४124), ' Cf. SD.449; Ag. reads this is as a variant of Argumentation (sSepates, B.XVI.35). The def.in translation is as follows; When faults discovered are explained away as being otherwise wt 1s called Argumentation (apapatti) in connexton with drama. Cf, SY). 482.

25 (0.25; Bp. 357, णा). ) €, purvadeda’ for purviseya; ए. anekopidht for anekipoha, ©. 5). 447. Ag.’s reading of the definition in

XVII. 99 J DICTION OF A PLAY: 306

includes much elimination of errors (apoha), is called Deliberation (vic&ra), Taoversion 26. When due to seeing [something] an alteration of Deliberation, takes place on account of a doubt, it is called Inversion (viparyayq)?. Slip of Tongue 27. Manifold deviation of proud and similar other persons from the intended words to something else is called Slip of Tongue (Lhvamia, lit. lapse)¥. Mediation 28. [Words] which please the two persons with mutually opposed resolution and [are aimed at] accomplishing some object, constitute Mediation (anunaya, lit imploring)*. Series of Offers 29. When for the purpose of accomplishing an object one (lit. learned men) suggests to a person his many needs [which may be fulfilled], it is [an instance of] Series of Offers (mala, lit. garland)*.

translation as follows: Deliberation (vieara) ts the critical examination of many things (under B.XVI.33).

26 (C.26; 8.7). 357, XV1.26). ' B. drstopadrstayoh for drstopayogatah Cf. SD. 456. Ag. reads this asa variant of the def of Wrong Perception (mithyadhyavasaya B.XVI,16) which in translation is as follows: When in place of a non-existent object one takes for certain some- thing similar to it, it [becomes an instance of | Wrong Perception (mithyadhyavasiya).

27 (C.27; B.p.858, XVI.27). | Emend erstadibhir to drptidiniam Ct. drptadinam bhaved bhram’o vacyad anyatarad vacah. SD. 455. Ag. reads this as a variant of thedef, of Witty Compliment (fr1yavacana) which in trans. is as follows: 74८ which 1s apparently liable to provoke anger but brings joy in the end and includes a blessing, 1s called Witty Campliment (priyavacana=priokti) B.XVI1-29.

28 (C.28 B.p.358, XVI.28). ` Cf SD. 458 Ag. reads this as a variant of the def. of Subservience (azuvitt:) which in trans. is as follows : To follow with a purpose another person as a matter of courtesy, love or favour, ts called Subservience (anuvyiti) 7.९४ 34. Ag. reads ‘this differently. Cf. SD, 494. :

29 (C.29; 8.9.359, XVI.29). 3 Cf. SD. 459.

89

306 THE NATYASASTRA [ उणा, 80-

Clever Manners 30. When one attends another person with a happy and pleased face, [sweet] speech and [agreable] movements, it [is an instance of] Clever Manners (daksinya).t Censure 31. Ifany one mentions [someone’s] faults and explain them as merits, or decries his merits and calls them faults, it becomes [an instance of] Censure (yarhana)?. Presumption 32. When from a sweetly-worded mention of something, some other object is to be understood, it is [an instance of] Presumption (कद्व), Celebrity 33. That which is expressed with excellent words mentioning many well-known exploits, gives rise to Celebrity (prasiddhi)*. Interrogation 34, When by courteous (lit. procceding from courtesy)? words one questions oneself or another [imaginary person] it is [an instance of] Interrogation (precha).

30 (C.30; B.p.359, XVI.30). 1 Cf SD. 457. Ag. reads this as a variant of the def. of Clever Request (yaena) which in translation is as follows: Words which are apparently liable to provoke anger, but bring joy in the end and turn favourable are called, Clever Request (yacia) Sce B, XVI. 22 Cf. SD. 496.

31 (C.31; B.p. 359, XVI31). ' Cf SD. 461, Ag. reads this as a variant of the def. of Deceit (4apatasamghita) (B.XV130) which in translation is as follows: Application of some stratagem for the decep- tion or defeat of others, 1s called Decett (kapata). When two or three (stratagems) are appited together it becomes. a Multiplee Decert (kapata-samghiata) Cf. SD. 473.

82 (C.32; B.p.360, XVI.37), | Cf. SD.460. Ag. reads as 8 variant of the def. of Embellishment (रध, B.XV137) which in translation is as follows: When defects of an object are explained as merits or merits are derived from the defects tt 1s [an instance of | Embellishment (kirya).

33 (C.33; B.p.3860, XVI.33). 1 Cf SD. 463. Ag. refds this as a variant of the def. of Submission (anzmitz, BXVI.38) which in translation is as follows: Sweet words which are uttered, to please one after forgiving one’s singular offence due to anger, ts called submission (anuniti). See also under B.XVI. 21.

34 (6.84; Bp.361, XVI34). 1 Emend atarod (akarod ©) to aearod

-XVII. 38 ] . -DICTION OF A PLAY 307

Identity

35. When from seeing or hearing something [suddenly] one is confused by its suspected identity [with another it is an instance of] Identity (sarapya)*.

Indirect Expression of Desire

36. Expressing one’s secret desire of the heart! by a pretence of referring to somebody clse’s condition, is called Indirect Expression of Desire (manoratha, lit. object of the mind).

। Wit

37. Words which are addressed in a [clever] manner by expert disputants and which relate to accomplishment of similar objects?, constitute Wit (leéa).?

Concealment

38. When being faultless one declares to be taking upon oneself various faults of another, it [18 an instance of] Concealment (samksepa, lit. taking away)*

Ct. abhyarthaniparatr vakyatr, SD. 462. Ag. (B. XVI.24) reads this identically.

35 (C.35; 7.7.361, XVI35). ' Cf. SD. 464. Ag. reads this as a variant of the def. of Wounded Sclf-respeet (abhimana, B.XV1.8) which in translation is as follows: When one is not pacified even when one 15 consoled by means of many words and acts, it ts [an instance of | Wounded Self-respect (abhimana). Cf. SD, 493.

36 (C.36; B.p. 362, XV1L36). + Cf. SD. 468. ©. Ardayarthasya for Ardayasthasya Ag. reads this in substantially identical manner (B.XVI.20).

37 (C.37; B.862, XV1.37). | C. sadr8artha-vinispannah for “bhints- patya, Cf. SD. 467, Ag. reads this as a variant of the def. of Obs- truction (pratrsedha B.XVI.23) which in translation is as follows : When one sets out to do something contrary to another's desire and ts opposed by clever persons. (lit. those who know the businees) tt is called Obstruction (pratigedha).

38 (C.38; B.p.363, XVI.38). । Emend tv ksobha to samksepa. C. tu dosa) Cf. SD, 465, sambsepo yat tu samksepid atmanyarthe prayusyate. Ag. reads this as a variant of the def. of paridevanam (parivadanam of Bhoja, sarivada of Saradatanaya, parrvedana of SarveSavara) See B.XVL89 foot note (#). The meaning of ite def. is pot clear:

308 THE NATYASASTRA { XVII 89-

Enumeration of Merits

39. When merits of men who excel [others] in qualities in this world, are ascribed to one single person it [is and instance of] Enumeration of Merits (guna-kirtana)

Semi-uttered Expression

40. When from the mere commencement of a subject the rest of it is comprehended without being actually expressed in words? it [is an instance of] Semi-uttered Expression (anuhta- siddhi, lit. unuttered achievement)?,

Compliment

41. When words are uttered in a pleasant mood to honour an honourable person and to, express joy [for his acts] it {is an instance of] Compliment (priyolti, lit. pleasing utterance)®.

42. These thirtysix characteristic marks of a dramatic (lit. poctical) composition conducing 0 the object. in view (ie. writing plays) will beautify a play (lit, composition) and [hence they] should be properly used according to the Sentiment? [intro- duced in it].

Four figures of specch

43. Four figures of speech available in drama? are: Simile (कण्ठ) Metaphor (vtipaha), Condensed Expression (dipake, lit, lamp) and Yamuka.

39 (C.39 ; 1.7.363, XVI.39). | Cf. SD.466. Ag. reads this def. in translation as follows: When a proclamation of various qualities of a person takes place, but his faults are not given out, it ts (called an instance of | Enumeration of Merits (guna-kirtana). 8०९ B. XVI. 9.

40 (C.40; Bap. 363-64, XVI40), 10. एद for vininukta. Cf. SD. 469. Ag. reads this as a variant of the def. faridevana etc. (see 38 note above).

41 (C41; B.p.864, XVI41). ' Cf SD. 470. Ag. reads this differently, see above 27 note |.

42 (C.42; B.p,364, XVI.42). 1 © kavyesu sodaharanant for prabandhasobhakarant, 0, balinu- rupam (rasinuripam), C, for vatharasane.

43 (C.43; 2.0.40). | ए. reads the second hemistich as Aavyasy ete hyalamkaras catvarah parikirtitap

“XVII. 53] DIOTION OF A PLAY $09 Simile

44. When in a poetical composition anything is compared on the basis of some similarity it is [an instance of] Simile (upama.) It relates to quality and form.

Number of objects compared

45-49. This comparison may be of one with one or many, or of many with one, or of many with many. (Kxamples of these are as follows): your face is like the moon (one compared with one)?, stars shine like the moon (many compared with one), having an feye like! that of a hawk, a peacock and a vulture (one compared with many) ; and elephants are like clouds (many com- pared with many).

; Five kinds of simile क

50, Simile is of five kinds, viz. [that of] praise (prasamsa), [that of] censure (wind@), [that of] conceit (बद), [that of] uniqueness (seri. lit. similar looking) and [that of] partial likeness (Aimeit +त द्रण),

Simile of praise

81. ‘The king was pleased to see that large-eyed lady just as the sages are pleased to see the success incarnate after it has been achieved with austerity.

Simile of censure 52. The woman clung to that rough-looking person devoid of all good qualities just as a creeper clings round a thorny? tree which has been [partially] burnt by the forest-tire. Simile of conceit v3. ‘The Elephants exuding ichor and moving slowly with gracefulness look like mobile mountains.

44 (C.44; B.XVI.41).

45-49 (C.45-49; B.XVI.42-45), | ekasyanekavisaya should be emended to anekasy ckavisayis (A7b).

® tulyiksa (ms. na in B.) for tulyartha (B. €.).

50 (C.50; B.XVI.46). 51 (C.51; B.XV1.47).

52 (C.52; B.XV148). | Read kantakinam for kanthagatam, ©,

58 (C.58; ए. 91.49).

$10 THE NATYASASTRA [ XVII. 64.

Simile of uniqueness 54, What you have done today to satisfy someone else’s desire, is comparable only to your [other] superhuman? deeds. Simile of partial likeness 55. Here is come my lady friend whose face is like the full moon, eyes are like the petals of a blue lotus and the gait is like that of an elephant in rut.

56. ‘These briefly are the varicties of similes. Those not described here are to be gathered from {different} poetical works ‘and from the popular speech (lit. the people), Condensed Expression 57. When words agreeing with different [sets of] words are combined into one sentence by way of illuminating them together it is [an instance of] Condensed Expression (dipaka, lit. light). Example : ६ 58. In that region (lit. there) fulness (lit. want of emptiness) was always effected? by swans in the lakes, by flowers in the trees, intoxicated bees in the lotuses and by friendly groups [of men and women] in the parks and the gardens. Metaphor 59. An image of slight likeness which is conceived duc to indecision [from objects] characterised hy similar limbs, is called Metaphor (पवत), Example : 60. The pool of water and women, with their lotus-faces, Kumuda-smiles, beautiful and open Nilotpala-eyes and swans cackling around, seem to he talking to one another.

54 (C.54; B.XVI50). | Read atiminusa for ttt minusa. 2.

55 (0.85; 2.१.51). । 56 (C.56; B.XVI.52).

57 (C.60; B.XXVL53). 1" B. gives an additional def. (XV1.54).

58 ((.6); B.XVI55). | The plain meaning is that the lakes were full of swans, the, trees full of flowers, lotuses full of bees, and the, parks and gardens full of friendly groups of people.

59 (C.58; B.XVI56), ' (B.XVI.57) and (C.57) give a second def. which does not appear in all mss.

* 60 (C.59; BX VI58).

XVI. 67] DICTION OF A PLAY -311

Yamaka

61. Repetition of words at the beginning of the feet and the other places constitute Yamaka (lit. twin). Listen to their characteristics which I am going to tell [you]?.

Ten kinds of Yamaka

62-64. Yamakas are of the ten kinds: Padanta Yamaka, हलं Yamaka, Samudga Yamaka, Vikranta Yamaka, Cakravala Yamaka, aud Sandasta Yamaka, द्वहता Yamaka, Amredita Yamaka, Catur-vyavasita Yamaka and Mala Yamaka.

Padanta Yamaka

65. When similar syllables occur at the end of all the four feet they constitute Pidinta Yamaka. Example ; 66. dina-ksayat samhrta-ragmi-mandalam diviva lagnam tapaniya-mandalam | vibhati tamram divi siirya-mandalam yatha tarunyah stana-bhira-mandalam ॥ At the decline of the day, the reddish (lit. copper-coloured) orb of the sun shorn of its cluster of rays, shining like a golden disc in the heavens, looks like a big round breast of a maiden.4.

Kajici Yamaka

67. Two similar words occuring at the beginning and at the end of each foot constitute Kaiici Yamaka.

61 (C.62; B.XVI.59). | For an old definition of Yamaka sce Bhamaha, II. 17.

62-64 (C.63-65; B.XVI.60-62). =" Bhaimaha mentions a_ fivefold division of Yamaka Sce II. 9. He seems to have known the tenfold division of the NS., and is of opinion that his fivefold division includes at least Sandasta and Samudga Yamakas, See IT. 10.

65 (C.66; B.XVI.63). 66 (67; B.XVI-64). 1 ए, gives an additional def. (BXVL65). , 67 (6.68; B.XVI68).

312 THE NATYASASTRA { XVII 66.

~ Example : । 68. yamdyamas candravatinam dravatinam vyaktavyakti sdra-janinim rajaninim | phulle phulle sa-bhramare va’bhramare va rima' rama vismayate ca smayate ca? ॥ The length of hours (yama) of the moon-lit. nights, passing swiftly in the company of young women are scarcely perceived. Flowers having blown whether with or without bees, the fair lady looks at them admiringly, and the park smiles [with their

beauty]. Samudga Yamaka

69. When the same hemistich by its repetition completes the verse it is [an instance of] Samudga Yamaka. Example : 20. _ketaki-kusuma-pandura-dantah Sobhate pravara-kinana-hasti | ketaki-kusuma-pfindura-dantah fobhate pravara-kiinana-hasti ॥

The very big wild clephant with its tusks as pale-white as Ketaki flowers, looks beautiful ; and the elephant-like large forest looks beautiful with Ketaki flowers as its pale-white tasks.

Vikranta Yamaka

71. When two alternate feet are similar, it is (an instance of] Vikranta Yamaka.

02, sa piirvam varano bhiitva dvifrahga iva parvatah |

abhavad danta-vaikalyad-viériga iva parvatah ॥

Formerly being an elephant comparable to a two-peaked mountain, [now] its two tusks heing broken it has become like a mountain without any peak.

68 (C.69; B,XVI.67).

69 (C.70; B.XVI.68), ' Road yaeni-yamis for yoman yimam (B) and maya mayé (C). This Yamaka -occurs in Bhamaha, II. 10, and Dandin, I1L53-54. 70 (C.71; BXVL69).

71 (C.72; BXVI-70), « 72(0.73; BXV171).

इषा. प्र] DICTION OF A PLAY 318 Cakravala Ydamaka

73. When the word at the end of a foot is similar to the word at the beginning of the next foot it is [an instance of] Cakravala Yamaka?.

Example : 24, arais! tatha satrubhir ahata hata, hataé ca bhuyas tv anupumkhagaih khagaih | khagaié ca sarvair yudhi saiicitas citas citidhiridha nihatas talais talaih. ॥

Thus they were killed after being struck by arrows of the enemies as well as by birds of prey flying closely behind such missiles ; the battle-field was swamped with such birds by which dead bodies placed on the funeral pyre were being pounced upon with their [sharp] talons.?

Sandasta Yamaka 75. When the two words at the beginning of a foot are similar, it is [an instance of] Sandasta Yamaka,? ; Example : 76. pagya pasya me ramanasya gunan yena yena vasagim karoti mam | yena yena hi mamaiti darganam tena tena vagagim karoti mim ॥

Look at the qualities of my lover, by which he makes me bow to him, and he charms me by those qualities with which he comes to my view.

Padadi Yamaka

77. When the same word occurs at the beginning of each

foot, it is [an instance of | Padadi Yamaka.

73 (C.74; B.XVI72. } B. has an additional definition (B.XVI.73) of of Cakravala Yamaka,

74 (C.75; B.XXV174). 1 Emend gailas to savas.

५ C. reads ८८८20102 hit hata hati narih.

75 (0.76; B.XVI.75). 1 This term occurs in Bhimaha, 1.10, aad Dandio, II1.51-52, But the latter’s def. is different.

76 (C.77; 8. 01.76). 77 (6.77; B.XVI.77). 40

314 THE NATYASASTRA ` [ इषा. 7६

Example 78. visnuh srjati bhiitani vispuh samharate prajah | visnuh prasiite trailokyam visnur lokddhi-daivatam ॥ Visnu creates all living beings ; Visnu destroyes all creatures: Visnu creates (lit. gives birth to) the three worlds and Visnu is the over-lord of [all] the worlds. Amredita Yamaka 79. When the last words of a foot are reduplicated, it becomes [an instance of] Amredita Yamaka. Example : 80. vijrmbhitam nihévasitam muhur muhuh katham vidheya-smaranam pade pade | yatha ca te dhyinam idam punah punah dhruvam gata tam! rajani vind vind ॥ {You had] decp repeated sighs, [yon] remembered [her] as you uttered her name frequently and thus as [you were] in cons tant meditation (of her] your [sad] night passed without her.?

Catur-vayavasita Yamaka

81. When all the fect consist of similar syllables it is [an

instance of) Catur-vyavasita Yamaka, . Example : 82. varandnam ayam eva kalo varaninam ayam eva kélah | varanainam ayam eva kilo va ranadnam ayam eva kalah ॥

This is the time of the Varana [flower]; this is the season when the elephants (varanu) are free from disease. This is the time [for] the enemies to come; or this is the time for [going to] hattle.

Malai Yamaka

83. When one consonant with different vowels occurs in

various words it is [an instance of] Mala Yamaka.

wa 78 (C.78; B.XV178). 79 (C.79; B,.XV1.79). 80 (C.80; B.XVI80). 1 Emend ée to tam. > The trans, is not very literal . .81 (C.81; BXVI81). 32 (6.89 BXVI.82). 83 (C.83; B.XVI1.83).

-XVII. 88 ] DICTION OF A PLAY 316

Example : 84. hali bali hali mali sali kheli Jali jali | balo balocca-lolékso musali tv abhiraksatu ॥ ~ Let the strong Balarama, the garlanded Balarama, who holds a a spike, is sportive, faltering [in gait] and is full of Sentiment, and Balarama who is high in strength and who has his eyes rolling and who holds a club, protect. you. 85. asau hi rima rati-vigraha-priya rahah-pragalbhad ramanam raho-gatam | ratena ratrau ramayet parena va no ced udesyaty arunah puro ripuh ॥ '

This beautiful woman who is fond of love’s fight and is unashamed in it, will secretly please her lover at night with the best embrace, till the sun will rise in the east as her enemy.

86. sa puskaraksah ksatajoksitéksab

ksarat ksatebhyah ksatajam duriksam | ksatair gavaksair iva samvrtangah saksat sahasriksa ivavabhati ॥

The lotus-cyed one having his eyes bathed in blood, letting fall from his wounds awful blood and [having his body] covered with window-like wounds looked like the thousand-eyed god (Indra) in person.

87. A play (lit poetical work) should be composed by [introducing] these |characteristic] marks after considering their objects and functions. I shall speak hereafter about faults (dosa) in such works.

Ten faults

88. Faults in a play (lit. poetical work) may be‘of ten kinds such as, Circumlocution (yaghartha), Superfluous Expression (arthantara), Want of Significance (arthahina), Detective Signi- ficance (bhinnartha), Tautology (ehartha), Want of Synthesis

84 (C.84: B.XVI.84). 85 (C.85; B.XVI.85). 86 (C.86; B.XVI.86). 87 (C.87; B.XVI.87). 88 (C.88; 1. 91.88).

816 THE NATYASASTRA { XVIL. 89

(abhiplutartha), Logical Defect (nyayalppeta), Metrical Defect visama), Hiatus (visandhi) and Slang (Gabdavyuta)?. Circumlocution 89. Mentioning [anything] by means of a [manufactured] synonym, is to cause Circumlocution (ya¢hariha, lit. hidden meaning)? . Superfluous Expression When anything not to be mentioned is described itis [a case of] Superfluous Expression (athantara)?. Want of Significance 90. An expression which is irrelevant? or which remains incomplete? is [an instance of] Want of Significance (arthahina)*. Defective Significance Defective Significance (bhinnartha, lit. broken meaning) includes an expression which is not refined, or is worthy of a rustic.

91. When the intended sense is changed into another xense it is also called Defective Significance. Tautology 92. Tautology (rkartha), means. [indiscriminating] use of [many] words for a single purposet,

1 For a discussion of the faults in NS, see 8. K. De, Skt. Poetics, 17, pp. 19. ।

89 (८.89; B.XVI.89). 1 An example of stch a synonym is Hkadhika- nava-vimina for Dasaratha, Cf. Bhamaha (1.37.) seems to be using gunhasabilabhidhana in an identical sense. See 1. 45-46. ६, ९, De trans: lates this term as “use of difficult expressions” (Joc c7?),

2 An example of such an expression is चिन्तामोहम्‌ भनङ्गम्‌ भङ्ग तनुते सुभवः ‘The beautiful lady’s look injeets (lit. spreads) indeed love as well as anxiety and insensibility. Here “angiecty and insensibility” are superfluous, for love includes these two states of the mind (Ag.).

90 (C.90; B.XVI90), ! An example of such an expression is शरद्यापि acfa (खरति) रमालसं मनो सै AruaT छरचतुगनि, To say that a mugdiu heroine can be samara-catura (expert in love) as well, is incoherent. (Ay.).

2 ‘The example of sévagesa is स ARIAT भाग्यवशान्‌ महापथम्‌ SAU,

2 Wor mahatma bhagyavasit may be construed as mahatma abhagye asad and thereby its meaning may remain incomplete or undecided without a reference to the context. 91 (C,91; BXVI.91).

° 9 (6.99; एद ए), 1 An example of Tautology (दष्क) is kundendu-hava-hara-hisa-sitam, White like ४ Kunda flower, the moot

"शपा. 96) DICTION OF A PLAY $17

Want of Synthesis [When a sentence is] completed within [each] foot [of a verse] it [18 an instance of] Want of Synthesis (abhiplutartha)?. Logical Defect 93. Anything devoid of reasoning is an example of Logical Defect (nyayad-apeta)*. Metrical Defect Lapse in the metrical structure is called Metrical Defect (visama, lit. unevenness). Hiatus 94. When words [which should combine in Sandhi] are kept separate it is [an instance of} Hiatus (visandhi). Slang When a sound or accent is dropped it is an instance of slang (éabdacyuta, lit. lapse in a word)?. Gunas 95. These are the faults of a poetical work properly des- cribed by me, Gunas (merit) are their negation and are characterised by sweetness and depth of meaning?. The ten Gunas 96. The ten Gunas are: Synthesis (sese, lit, union), Pers- picuity (vrasada), Smoothness (saiata), Concentration (xauadhi),

and the laughter of Siva. Any one simile would have been enough. Each simile here serves the same purpose and hence Tautology has oceurred (Ag.). See Bhamaha, LV. 12.

* Read samapyate (ms, va. in B,) for samasyate. An example of this is 4 ter गोतिकृलः सरः कुमुदशोभितम्‌ । सद्निया veal ate मालतिकाममः. Here all the four feet contain four complete sentences which are not connected with one another by sense.

93 (C.98; B.XVL93). | nyuyvad-apetam = desakila-viruddham cte. (Ag.) ‘defying the limitation of place and time’. Bhamaha’s deSa-sdla- kala-lokanyiyagamis-virodhita (४.28) seems to be included in this.

94 (C.94; B.XV1.94). ' Such dropping occurred probably duc to the Prakritic habit in speech.

95 (C.95; B.XVIL95). 1 Vamana holds the opposite view (guna- viparyayatmimo dosah 1. 1.1.) and according to him Gunas are positive entities (kava-sobhiiyah kartiro dharmi gunih, WII, 1. 1).

96 (C.96; B.XVI96). + Bhamaha, II]. 1. 4., and Dandin,‘].41-94.,

$18 THE NATYASASTRA (XVII. 97-

Sweetness (madhurya), Grandeur (ojas), Agreeableness (sauku- mary, lit. delicacy), Directness of Expression (artha-vyakti, lit. expression of meaning), Exaltedness (uda@ra, lit, deep) and Lovelines (anti). Synthesis 97. Union of words connected through meanings intended is called Synthesis (élesa)*. Perspicuity 98. Where the unexpressed word or sense is comprehended through a use of easily understood words and sense, it is [an instance of] Perspiciuty (prasad)? Smoothness 99. When a composition does not contain too many un- compounded words, redundant expressions and words difficult: to understand it is [an instance of] Smoothness (samata)?. Concentration 100, Possessiny some special sense which the men of genius can find out in a composition (lit. here) is called Concentration (sama:lhi)?.

have ten Gunas and name them similarly But their descriptions are different, Ct. De, Skt. Pocties, I. pp.15ff. Nobel, Foundations, pp. 104ff.

97 (C.97; BXVI.97). 2 Cf. Vamana, TE I. 11; Dandin J. 43-44. BC. ive another deseription (C.98, B.XV1.98) of this Guna, which in translation is as follows ; «1 [composition] which 15, imbued with deep logic but from its nature ts [very] plain and ts very well-knit-together ts called Compact (Slista).

98 (C.99; 2.४.99). + Cf. Vamana III. 1. 6; Dandin 1.45.

99 (C100; BXVI. 100). ? Cf Vamana IIE. 1.12; Dandin 1-47-50. (B.XVI.101) and ¢. (100) gives an additional description of this Guna which in translation is as follows: When alamkiras and gunas match and illuminate one another it 1s called (an instance of] Smoothness (samata)-

100 (C.p.212 fn. 1. BXVL102), } Cf. Vamana, III. 1.13; Dandin 1. 98-94. B.(XVI.103) and © (101) gives an additional deseription of samadhi, which in translation is as follows: Careful condensation of meanings suggested by and derived from simtles, ts called Concentration (samadhi)

-XVII. 105 ] DIOTION OF A PLAY 319 Swectness

101, When a sentence heard or uttered many times does not tire or disgust [anyone], it [is an instance of] Sweetness (mal hurya)',

: Grandeur

102. When a composition consists of a use of many and varied compound words exalted [in sense} and agreable [in sound], it is [an instance of] Grandeur (०14४) 1.

Agrecableness

103. When a composition consists of words easy to pronounce, euphonically combined, and giving agrecable impression [even when treating some unpleasant topic], it is [an instance of | Agreeableness (saukwmarya)?.

Directness of Expression

104. It any subject (lit. action) relating to the [common] events occurring in the world gets expressed by means of well- known predicates, it becomes [an instanee of] Direct Expression (artha-vyakti)*, :

Exaltedness

105. When in a composition superhuman characters are

101 (C.102; BXVI.104). ' Cf. Vamana वा. 1. 11-21; Dandin 1 51-53.

102 (C.p.212, fn. 2; B.XVI105). ' Cf Vimana II15; Dandin 180-85. ए. (XVI.106) and C. (103) gives a second definition of this Guna which in translation is as follows: Jf @ [composition otherwise] censured and deficient in quality reflects an exalied sense through its words and 1s rich in sound and sense it becomes an instance of | Grandeur (भृगो). Hemacandra utilised this definition (Ch. IV.)

103 (C.104; BXVI107). 1 Cf Vamana III. 1. 22; Dandin calls this sekumarata.

104 (C.p.212, + ०. 3; B.XVI.108). =: C. seprastddhadhatuna for suprastddhibhidhiana, (B.XVI1.109) and C,(105). gives a second definition of this Guna, which in translation is as follows: When the meansng of a composition can be grasped by the penetrating mind just after its recital (dst. use) tt ts [am instance of ] Durectness of Expression (arthavyakti) 105 (0.7.219, £. ०. 4; B.XVI.101)

320 THE NATYASASTRA [ XVIL 105.

described in relation to the Erotic and the Marvellous Sentiments and the various States, it is [an instance of] Exaltedness (4412110).

106, That which [in a composition] while describing the sportive movement of [a character] delights the ear and the mind just as the moon [pleases us}, is [an instance of] Loveliness (hanti)*,

Alamkaras, and Gunas according to Sentiments

107. These are the figures of speech, faults and Gunas {available in a poetical composition}; I shall now describe their application in connexion with different Sentiments,

Sounds and Figures of Speech according to Sentiments

108. The poetical composition in connexion with the Heroic,

the Furious and the Marvellous Sentiments should consist mostly of light syllables and should include similes and metaphors,

109-110. In the Odious and the Pathetic Sentiments it (the composition) should he similar except that it should consist mostly of heavy syllables. #

Metres according to Sentiments: in the Heroic and the Furious Sentiments

Whenever any act of boldness is described (lit. occurs) in connexion with the Heroic and the Furious Sentiments, it (the com- position) should be in the Arya metre and should haye metaphor and Condensed Expression in it.

Tn the Erotic Sentiment In the Erotie Sentiment the composition should he in gentle

metres,

‘Of, Vamana, II. 1. 23; Dandin, | 76-78. BAXVI. UI.) and (106) give along with this a definition of the Guna named कद, In translation it is ag follows: When the composition includes witty and graceful words having many special senses which are marvellous, it 15 [an instance of | Exaltedness (udatta).

106 (C.p.212 ६.०. 5; BXVI112). 3 Cf, Vamana, IT. 1. 25; Dandin, I. 85-88, C (107), gives an additional definition of this Guna, which in translation is as follows ; When a composition gives delight to the ears as well as to the mind on account of its well-put-together words, tt 1s [an instance of | Loveliness (kanti).

107 (C.108; B.XXVI.113). 108 \C.109; BXXVI.114).

109-110 (6.110-111; B,XV1.115-116),

-XVIL 117) DIOTION OF A PLAY 391

In the Heroie Sentiment 111-112, In the Heroic Sentiment the poetical composition should have gradation [of sounds] and it should be in metres of the Jagati, Atijagati and Samkrti types. In the description of battles and tumults Utkrti has been prescribed by the experts.

In the Pathetic Sentiment.

Sakkari and Atidhrti would be the proper metres in the

Pathetic Sentiment. In the Heroic and the Furious Sentiments

113. The metres prescribed for the Horoic Sentiment may be applied in the Furious Sentiment as well; and as for metres in the rest of the cases (१, e. those not mentioned) they should be made suitable to the meaning intended

Vowel-length in different Sentiments and States 114. In connexion with the drama the poets should use! short, long and prolated (pluta) vowels for representing different Sentiments and States. 115. In the intonation [in Recitation] a vowel consisting of one Matra is short, of two Matras is long and of three Matras is prolated (0110),

\

Uses of the prolated vowel 116. In remembering anything, in [expressing] indigna- tion’, in lamenting or in the reading of Brahmins the prolated (pluta) vowels occur. 117. [Syllables concerned in these connexions] will be ‘a’ for remembering, ‘i’ for indignation, ‘hw for lamentation and ‘om for the reading of Brahmins.

111-112 (C.112-118; B.XVIJ.117-118).

118 (0.114; B.XVI.119).

114 (C.115; B.XXVI.122) 'C. Aavyam vijheyam for karyam 11.11.111

115 (C.116; 8. हणा 198).

116 (60.117; B.XVI.124). 1 C. smrte castrayute for smrte castiyite.

117 (C.118; B.XVI.125).

41

999 THE NATYASASTRA [ इए. 118-

118, Besides these, other syllables in a play (lit. poetical composition) should also be made short, long or prolated (pluta) according to the Sentiments and States [they are to express].

119. The uneven and uneven metres which have been described before should also be used in composition with agreeable and soft sounds according to the meaning [intended]*.

, 120. The playwright should make efforts to use in his composition sweet and agreeable words which can be recited by women. For, furnished with these (६.९. such words) a play will appear very much beautiful just as lotus-lake [will appear] adorned with swans. ।

121. With harsh words such as cekridita!, delicate dramatic art does not appear beautiful just asa public woman does not appear well by the side of Brahmins who are clad in Ruru-skin, and are annointed with ghee and who carry the skin of black antelopes and have the Aksa-mala [in their hands].

122. A play abounding in agreeable sounds and senses, containing no obscure and difficult words, intelligible to country- people? having a [good] construction, fit to be interpreted with (lit. fit for) dances, developing Sentiments by many [characters]? and having suitable Junctures (sandhi) and their [proper] unions, becomes fit for presentation to the spectators.

Here ends chapter XVII of Bharata’s Natyasastra which treats of the Characteristics of a good play in connexion with the Verbal Representation.

118 (C,119; B.XVI.126). :

119 (C.120; B.XVI120), 3B. reads 120a 88 yac chandah piirvam evoklam visamirdhasame samam. ए. Sabdats tat kiryam tw rasinugam for haryas te’ rthavaSanugih.

120 (C.121; BXVIL121). ' The word cekriqayatim occurs in the Avi. (111.18) ascribed to Bhasa. (Sce A.D. Pusalker, Bhasa, Lahore, 1940, p.181).

121 (C.122; B.XVI.127).

122 (C.128; BXVI.128). + 0, budhajanatukhayogyam yuktiman.

.” 2, bahukrtarasamargam for bahurasakrtamargam, 0

CHAPTER EIGHTEEN RULES ON THE USE OF LANGUAGES

The Prakritic Recitation

1. Thus I have spoken in brief? of the Sanskritic Recitation. Now I shall speak of the characteristics of the Prakritic Recitation.

2. The former (lit. this) [when] changed and devoid of the quality of polish, is called the Prakritic Recitation, and it has as its chief feature changes due to different conditions

Three kinds of the Pkt. Recitation

3. In connexion with the dramatic representation, it (the Pkt. Recitation) is of three! kinds, viz, that with the same words [as in Sanskrit] (samana-écbda), that with corrupt (vibhvagta) words and that with words of indigenous origin (क).

4. A sentence contaning words like kamala, amala, renu, taranga, lola, salila and the like are used in the Prakrit composi- tion [in the same manner] as in Sanskrit.*

5. 4Sounds which change their combined form or vowels or sustain loss and that often in the middle of a word? are corrupt (vibhrasta).*

1(C.1, B.XV1.1). ` For an English translation (with the text and notes) of XVIII. 1-24, see-M. Ghosh, “Date of the Bharata Natyagastra”, JDL, Vol. XXV. (1983). For a French translation (together with the romanised text) of this chapter see L. Nitti-Dolci, Les Grammairiens Prakrits, 1988, pp. 64-76.

० samasitah (C. dur jottamah).

2(C2; BXVIL2). ' Cf. Nitti-Dolei, p.70.

8(C.3; B.XVIL3). | Later Prakrit Grammarians called the above three classes of words éatsama, tadbhava and degi respectively.

4 (C.4; B.XVIL.4b-5a). 1 2. reads one additional hemistich (4a) before this. Cf. Nitti-Dolci, p.20.

5(C.5; BXVIL5b-6a). | Cf. Nitti-Doleci, p.70.

> ©; yanty apadadau prayas, B. for gacchants padanyasta, C.

> ए. reads one additional couplet after 5.

824 THE NATYASASTRA { XVII, 6-

Vowels and simple consonants

6. Sounds following ¢ and o (1.९, ai and aw) and the Anu- svara [in the alphabet] do not occur in Prakrit. And such is the case with sounds between va and sa (i.e, ga and ga) and the final sounds in the ka, ca and ta groups (ie, na, na, na).*

7. Ka, ga, ta, da, ya, and va are dropped [in Prakrit] and the meaning is carried by the [remaining] vowels, and kha, gha, tha, dha and bha become ha without giving up the meaning of the word.

8 In Prakrit ra does neither precede nor follow [a conso- nantal sound] except in cases of bhadra, vodra, hrada, candra and the like.’

9. Kha, gha, tha, dha and bha always become ha in words such as mukha, megha, katha and vadhu prabhuta. And as for ka, ga, ta, da, ya® and va, the vowel® following them always represents them.

10. Sa it should be known, always become cha in words such as satpada.1 The final syllable of kila should be va and the the word khalw should become kh. ८

6 (C. 6-8; B.XVI1.7). 1 This together with three following couplets are written not in Skt. butin Prakrit. Henee they seem very much to be an interpolation. The first of these occurs as a quotation (with- out the author’s name) in a late metrical work edited by M.H.D. Velankar (Annals of the Bhandarkar Inst. XIV. 1932-33, pp. 1-38, citation, Nitti-Dolei, p.71).

7 (C.6-8; BXVII.8). '

8 (C.6-8; B.XVIL9). ¬ Nitti-Dolei and B. reads fadra for draha. Sce chay@ and Ag. and also PSM. for the Pkt, words.Cf. Nitti-Dolei, p.71.

9 (C.6-8; B.XVIL10). ' Evidently hard aspirates in case of other words did not change, Ag’s. example of such words are Aheta, parigha, atha. This speaks of the high antiquity of the Pkt. of the NS.

2 The non-aspirate consonants mentioned here are to be understood as devoid of the inherent vowel ‘a’.

ग The word saro (=svarah) hero means “vowel” and not “sound”. Cé. Nitti-Dolei p.71.

10 (C.9; BXVIL11). | Ag. is silent about this satpadadt gana.

-XVIII.18] RULES ON THE USE OF LANGUAGES 825

11. Ta becomes da in words such as bhata, kuti and tata, and ga and sa always become 88, ¢.g. visa (visa) and samka (anka).

12. In words such as itara and the like ta standing not in the beginning of a word becomes an indistinctly pronounced da.? Da in words such as vagava and tagaga becomes 14,

13. Tha in words such as éatha, patha, pithi and the like become dha, and na 0९९07९8 na everywhere in pronunciation.?

14. Pa [in it] changing into va, apana becomes avana. And except in case of words like yatha@ and tatha tha becomes dha,

15. One is to know parust 88 pharusa, for pa becomes pha [in it], and mrga will be changed to mao while mrta will also be ma."

16. 4 employed in words like ausadha ete. will change to 0 and ea in words such as pracaya, acira and acala ete. will change into ya.?

17. Thus [change] the sounds in Prakrit when they are

not mutually connected (1.९. they are simple). Now I shall describe the change of conjunct sounds. Conjunct consonants 18. Sca, psa, tsa and thya change into (c)cha, bhya, hya and dhya into (j)jha, sta into dha, sta into ttha, sma into mha, ksna and sna into nha, and ksa into (k)kha.

11 ("10 B.VIL.12).

12 (6.11; B.XVIL13). } This indistinctly pronounced da is perhaps 8 spirantised da, Ag, thinks that itis somewhat like a 2. (wel लघुप्रयव उचाथैः थेन BATRA श्र लकारच्छायो भवति यथा set sat),

13 (6.12; BXXVIT14 1.2, 1" ए. reads the first hemistich as follows : ataaa च भावे धक्रारवर्णोऽपि zaquafa and C. too differently. Dka in vardhana (४.८. in combination with 7a) changes into dha.

14 (C,12b-18a, B.XVIL15).

15 (C.18b 14 B.XVIL16). ' The word maa (maya) from mrta as well as mrga had its spirantised da reduced to ya-Srut: which how- ever was not shown in writting during the early days of this phonetic change (See IHQ. VIII. 1933, suppl. ए. 14-15), x

16 (€.14b-158; BXVIL17). > This ya-8reé2 for ca did not probably at once lead to its graphic elimination. .

17 (C.15b-16a; B.XVIL18). . 18 (C.l6b-18a; B.XXVIL19.)

996 THE NATYASASTRA [शण्ा.1.

19. 4०2 will be acchariya and कवु nicchaya, utsaha ucchaha and pathya, paccha.?

20. Tubhyam becomes tujjham, mahyam majjham, vindhya vimpha, dasta dattha and hasta hattha,

21, Grisma becomes gimha, ilakgna sanha, usna unha}; jaksa jakkha, paryanka pallamka,

22. There is metathesis in the group ma occurring in words such as brahman ete, and in brhaspati [the group spa] becomes pha, yajna becomes janna, bhisma bhimha.

28. Ka and similar other letters (sound) while on the top of another letter (sound) will have to be disjointed in their pronunciation’.

24. Thus are to be learnt the pronunciation of Prakrit and Sanskrit. I shall discuss hereafter the classification of regional languages (dega-bhaga).

25. The [languages] to be used in drama are of four types in which Recitation should be either of the refined (samsirta) or of the vulgar (pra@kyta) kind.

Four types of languages

26. The Super-human Language (atibhasa), the Noble Language (@ry«-bhasa)' the Common Language (jati-bhasa) and the Language of Other Animals (yonyantari Lhasa)" are the [four] languages occurring in plays.

19 (C.18b-19a; B.XVIL20a-21a). 1 B. reads one additional hemistich between 19a and 19b. ।

20 (C.19b-20a; B.XVIL21b-22a).

21 (C.20b-21a; B.XVI22b-23a). | ©. reads Arsnak kankah.

22 (C.21b-22a; B.X VIT.23b-24a),

23 (C.22b-23a; B.XVL24b-25a). ™ This probably relates to svara- bhakts (anaptyxis). KA¢lesa (द), radana (ratna) and duvara (dvara) may be examples of this.

24 (C.23b-24a; BX VIL25b-26a), ` Cf. Nitti-Dolei. p.73.

25 (C.24b-25a; B.X VII.26b-27a).

26 (C.25b-26a; B.XVII.27b-28a). \ Some commentators think that aryabhasa means a language in which Vedie words preponderate (Ag.).

2 (1. reads jatyantari and yonyantari,

-XVIII. 80] RULES ON THE USE OF LANGUAGES 827

The Superhuman and the Noble Languages 27. The Super-human Language is for the gods, and the Noble language for the kings’. These have the quality of refine- ment? (samskara) and are current over the seven great divisions*® (vipa) of the world. The Common Language 28. The Common Language prescribed for use [on the stage] has various forms*. It contains [many] words of Barbarian (mleccha) origin and is spoken in Bharata-varsa [only]. The Animal Language 29. The Language of Other Animals! have their origin in animals domestic or wild and in birds of various species, and it follows the Conventional Parctice (natya-dharmi). Two kinds of Recitatien 80. The Recitation in the Common language which relates to the four castes, is of two kinds, viz, vulgar (vrata) and refined (samshyta),

27 (C.26b-27a; B.XVIL28b-29a). |The = कदे and aryabhasa are possibly the dialects of the pure Indo-Aryan speech. It.should be noted that “samskrta” (Sanskrit) as the nam? of a language is absent here. Bhoja takes afs-, arya- and jatt- bhisas respectively as 570४2 (Vedic), arsa (Puranic) and /auktka (literary) speeches. See Sr. Pr. [7191

3 Read samskaraguna for samskara-pithya (the ms. dha in B.). < ५ Read saptadvipa-pratisthita for samyainnyaya pratisthita (the ms. bha in B).

28 (C.26b-27a; B.XVII.29b-80a). 1 Read vtvidha-jatibhasa ; vivtdha (ca, da in B.) for dosvidha.

* The common speech or the speech of the commoners is distinguished here from that of the priests and the nobility by deseribing it as con- taining words of Barbarian (20८८८02) origin. These words seem to have been none other than vocables of the Dravidian and Austric languages. They entered Indo-Aryan pretty early in its history. See S. K. Chatterji, Origin and Development of the Bengali Language, Calcutta, 1926 pp. 42,178.

29 (C,27b-29a; B.XVILS0b-31a). + Neither the NS. nor ‘any extant drama gives us any specimen of the conventional language of lower animals, which is to be used in the,stage.

80 (C.2ub-29a; B.X VILS1b-892.),

828 ` THE NATYASASTRA { XVII, 81.

Occasion for Skt, Recitation

31, In case of the self-controlled (dhira) Heroes of the vehement (uddhata), the light-hearted (lalita), the exalted (wdatéa), and the calm (praganta) types, the Recitation should be in Sanskrit.

Occasion for Pkt. Recitation

32, Heroes of all these classes are to use Prakrit when the occasion demands that.

33. ग case of even a superior preson intoxicated with the kingship (or wealth) or overwhelmed with poverty no Sanaskrit should be used.?

34. To persons in disguise’, Jain monks®, ascetics’, religious mendicants* and jugglars should be assigned the Prakrit Recitation.

$1 (6, 29b-30a; B.X VIL32b-33a).

32 (C.80b-81a; B.XVII.33b-34a). ' As Arjuna disguised as Brhannala.

33 (C.31b-32a; B.XVII34b-35a), | We follow C. text.

2 No extant drama seems to furnish any illustration of this rule. B. reads one additional hemistich before this.

34 (C.82b-33a; B.XVIL36). 1 ayajalingapravistinim=persons in disguise of different kinds of professional and religious mendicants ०९, See Kautilya’s -Arthasastra, An example of this is Indra in the guise of a Brahmin speaking Pkt. in Karna. aseribed tu Bhisa. Nitti-Dolei_ takes this expression as an adjective of évamananam ete. But it need not be construed like this. This part of the rule scems to relate to Skt. speaking characters assuming disguise, Viradhagupta (Mudra {1.) assuming the guise of a snake-charmer, is an example of such characters. And so are Yaugandharayana and Rumanvin in the Pratijna, (JI) aseribed to Bhasa.

2 Samana (Pkt. samana). The word is tobe taken to mean here a dain monk. Ct. Jad? vattham avanemi samanao homt, Avi. (V.) ascribed to Bhasa ; Sramana was sometimes used also in connexion with the Buddhists. See below 36,

‡ fapasvin.—It appears that the author of the NS. meant ए this term ascetics in general. Though we find Brahmin ascetics in ancient literature, the institution of asceticism was most probably of non-Aryan origin, This seems to be justification of assigning Prakritic Recitation to all the ascetics irrespective of their sectarian affiliation.

५ bhikgu—religious mendicant in general, It should not be res- tricted to Buddhists alone. The alternative name of the Brahma-siitra is the Bhikgu-stitra,

“XVIII. 85] RULES ON THE USE OF LANGUAGES 329

35. ‘Similarly Prakrit should be assigned to children, persons possessed of spirits of lower order, women in feminine character? persons of tow birth, lunatics and phallus-worshippers®.

Exception to the rule for Pkt, Recitation 36. But to itinerent reclusest, sages*, Buddhists®, pure Srotriyas* and others who have received instruction [in the Vedas] and wear costumes suitable to their position (lingastha)® should be assigned Sanskritic Recitation.

35 (C,33b-34a; B.XVIL37 fin. 9). 1 B's reading in translation is as follows : Similarly Pkt. should be assigned to Satva teachers, lunatics, children, persons possessed of spirits of lower order, women, persons . of low birth and hermaphrodites (B.XVII.37)

> In a queen’s role a woman may sometimes speak Skt. Scc 38-39 below. The Jartv7ajrka in the Malavi. speaks Skt.

8 salinga.—This possibly means the member of a sect which like the Lingiyets wears a phallus suspended from their neck.

36 (C.34b-35a; B.XVIL38). | parevraj—a person of the fourth arama. A recluse belonging to the Vedie community.

० munt—This word, probably of non-Indo-Aryan origin meant in all likelihood “wise man.” See NS. I. 23 note 1. In the ancient world, wisdom was usually associated with religious and spiritual clevation. This might have been the reason why the word was applicd to persons like Vagistha and Narada.

> Sakya.—a follower of the Buddha. There is nothing very astonish- ing in Skt. being assigned to Buddhist monks. Buddhist teachers like ` Agvaghosa, Nagarjuna, Aryadeva, Vasubandhu were almost all great Sanskritists, and the Mahayana literature was written in Sanskrit of corrupt as well as of pure variety. This might have been the gencral linguistic condition before the schism arose among the Buddhists. In Afvaghosa’s Sariputra-parakaraya Buddha and -his disciples speak Sanskrit (Keith, Skt. Drama p.82). Aévaghosa assigns Skt. to a Svamana, as well (९०८, cz#). This 8ramana was possibly a Buddhist ; see 34 fur.

* coksesu (caiksesu, ©.) Srotriyesu—for the pure 8rotriya or a learned Brahman. The adjective “pure” (coksa) used with Svotriya is Possibly to separate him from an apostate who might have entered Jain or any other heterodox fold and was at liberty to use Pkt. ५

5 Sistah lingasthah—:cligious mendicants who have received instruction (in Vedas).

42

330 THE NATYASASTRA =` { XVIII. 87-

87, Sanskrit Recitation is to be assigned to queens, cour- tezans', female artistes to suit special times and situations in which they may speak.

38-39. As matters relating to peace and war, the auspicious and inauspicious movements of planets and stars and cries of birds concern the well-being or distress of the king these are to be known by the queen, and for this reason she is to be assigned Sanskritic Recitation in connexion with these (lit. in that time)?.

40. For the pleasure of all kinds of people, and in con- nexion with the practice of arts, the courtezans are to he assigned Sanskritic Recitation which can be easily managed.

41. For learning the practice of arts and for amusing the king the female artiste has been prescribed to use Sanskrit in dramatic works!.

42. The pure speech of the Apsarasas? is that which has been sanctioned by the tradition (i.e. Sanskrit), because of their asso- ciation with the gods ; the popular usage conforms to this [rule],

43, One may however at one’s pleasure assign Prakritic Reci- tation to Apsarasas (while they move] on the earth. [But to the Apsarasas in the role of] wife of a mortal also [the same] should be assigned when an occasion (lit. reasons and need) will occur?.

44, In the produetion of a play their [native] language should not be assigned to tribes such as, Barbaras, Kiriatas, Andhras and Dramidast.

37 (C.85-86a; B.XVII.39). 1 An example of this is Vasantasena speaking Skt. (Mrech. IV.).

38-39 (C.36b-38a; B.XVII40-41). ' This rule cannot possibly be illustrated by any extant drama, 40 (C.38b-39a; B,XVII.49).

41 (C,39b-40a; B.XVII43), ` There is possibly no example of this in any extant drama,

42 (C.40b-4la; B.XVII.44). No play with an Apsaras speaking Skt. is available. All the Apsarasas in Vikram, speak Pkt.

43 (C.4lb-42a; B.XVII45). } Read manusinam (ca in B) for misnusonam. Urvasi is an example of an Apsaras who became the wife ofa mortal. (Vikram).

44 (C.42b-48a; B.XVIL46), 3 Seo NS, XXIII. 99 notes.

-XVIII. 49] RULES ON THE USE OF LANGUAGES 331

48. To pure tribes of these names, should be assigned dialects current in Saurasena,

46. The producer of plays may however at their option use local dialects ; for plays may be written in different regions [for

local production]. Seven major dialects

47. The Seven [major] dialacts (bhasa@) are as follows : Magadhi, Avanti ([Avantija] Pracya, Sauraseni (Siraseni), Ardhamagadhi, Bahlika, Dakéinatya*.

48. In the dramatic composition there are, besides, many less important dialects (vibhasa)* such as the speeches of the Sakara, Abhiras, Candilas, Sabaras, Dramidas?, Odras® and the lowly

speech of the foresters. Uses of major dialects

49. (Of these] Magadhi is assigned to guards (lit. inmates) of the royal harem?, and Ardhamagadhi to menials, princes and leaders’ of merchants’ guilds?.

45 (C.43b-44a; B.X णा). 46 (C.44b-45a; B.X VI1I.48).

47 (C.45b-46a; B.XVI1149). ! Magadhi, Sauraseni and Ardha- magadhi are well-known. But any old and authentic deseription of Avanti, Pracya, Bahlika and Daksinatya Pkt. seems to be non-existent. According to Prthvidhara a very late authority, Mrech. contains the specimens of Avanti and Pracya only. It is to be noted that the present list does not include Maharastri.. See M. Ghosh. “Maharastri a late phase of Sauraseni”, JDL.

48 (C.46b-47a; B.XVII.50). 1 By the word zbhasa Prthvidhara understands oididha bhasa hinapitra-prayojyatvad hinih. Sec Pischel, Grammatik, §§ 3-5. No old and authentic specimen of the ४0005 has reached us. According to Prthvidhara the Mrcch. contains Sakari and Candali besides Dhakki which last the NS. does not know.

It is curious that after forbidding the use of languages like Dramida (Dramila) in 44 above, the author is including it among the dialects that ean be allowed in dramatic works. One possible explanation of this anomaly may be that here we meet with a late interpolation, and passages from 48-61 belong to a later stratum of the text.

४ Read dravidojrajak for dramilandhrajah, B; dravidodras ih, ८. See 55 note 1.

49 (C,47b-48a; B.XVIL51). ' For a list of such persons see DR.II.74.

* According to Pischel this passage assigns AMg. to servants,

399 THE NATYASASTRA „ ( XVIII 50-

50. Pracya is the language of the Jester? and the like and Avanti is of the rogues (dhirta)?. The Heroines, and their female friends are also to speak Sauraseni when not in any difficulty.

51. To soldiers, gamesters, police chief of the city and the like should be assigned Daksinatya?, and Bahliki is the native speech of the Khasas who belong to the north,

Uses of minor dialects ` 59. Sakari should be assigned to the Sakdra and the Sakas and other groups of the same nature!, and Candali_ to the Pulkasas and the like? 58. To charcoal-makers, hunters and those who earn their

Rajputs (कद) and leaders of merchants’ guild-(Szesti). See Gramma- tik § 17. But no extant drama seems to illustrate this rule. For Candanadiisa who is a S7esthi, does not speak AMg. (Mudra, 1) while Indra in the disguise of a Brahmin speaks this dialect of Pkt. (Karna. ascribed to Bhisa).

50 (C.48b-49; B.XVIT.52). | According to Prthvidhara Vidtisaka in the Myech. speaks Pracya the sole characteristic of which is abun- dance of pleonastic ‰& See Pischel, Grammatik, Grammatik, § 22.

2 0, yojyia bhissis for dhiurtimiim apy. According to Prthvidhara the the two policemen Viraka and Candanaka in the Myceh. (VI) speak Avanti. But according to the latter’s own admission he was a Southerner and a man of Karnata. No old and authentic description of this dialect is available, sce Pischel, Grammatik § 26.

51 (C.49b-50a: B.XVIL53). } Candanaka’s language in Mycech. in spite of Pythvidhara’s testimony to the contrary may be taken as a specimen of Diksinatya. See 50 note 2 above. No old and authentic description of this dialect is available. Cf. Pischel, Grammatik § 24.

52 (C.50b-5la; B.XVIL54), | Sakiranim sakidinam for Saki- raghosakidinim (B.), and sabaranam Sakidinim (C). According to Pythvidhara Sakara in Mrech. speaks Sakari dialect. Cf. एवान्‌; Grammatik, § 24,

4 Prthvidhara thinks that Candalas in Myech (V.) speak the Candali dialect. Cf, Pischel, Grammatik, § 25.

"४3 (C.51b-52a; B.XVIL55). 1B. sakira-bhisa for sabara-bhasi. This dialect seems to have been the parent of the modern Sora language.

-XVII. 58) RULES ON THE USE OF LANGUAGES 333

livelihood by [collecting] wood and leaves should be assigned Sabarit as well as the speech of forest-dwellers.

54. For those who live in places where elephants, horses, goats, sheep, camels or cows are kept [in large numbers) Abhirit or Sabari? has been prescribed, and for forest-dwellers and the like, Dravidi® [is the language].

55. Odri is to be assigned to diggers of subterranean passages, prison-warders, grooms for horses? ; and Heroes and others like them while in difficulty are also to use Magadhi for self-protection.

Distinguishing features of various local dialects

56. 1To the regions [of India] that lie between the Ganges and the sea, should be applied a dialect abounding in ¢?

57. To the regions that lie between the Vindhyas and the sea should be assigned a language abounding in na1(_ or ta).

58. Regions like Surastra and Avanti lying on the north of the Vetravati one should assign a language abounding ca}.

५ See 54 note 3,

54 (C.52b-54a; B.XVIL56). |! Abhiri dialect is not available in any extant drama. 2 See 58 note 1.

3 Dravidi dialect is not available in any extant drama. It is possible that it was not a pure Dravidian speech (See 44 above). Possibly a Middle Indo-Aryan dialect in which Dravidian phonctic and lexical influence predominated was meant by this. Its habitat was in all likeli- hood some region of North India. Cf. Nitti- Doliei, p. 120-122.

55 (C-54b-55a; B.XVIL57). 1 Emend odhrtkirasaraksasim (dha in B) into ori hartiévaraksatim (©, ostrikinian ca raksatiom and B. sandhikirasvaraksatam); for Odri Pkt. see 48 note 3. and Nitti-Dolci, pp. 120 fin. 4 and 122.

56 (C.55b-56a; B.XVII.59). ' B. again reads 44 after 55,

2 This “e” is perhaps termination of the nominative singular the @-bases in AMg.

57 (C.53; B.XVI1L60). ' This relates to a dialect of Pkt. which changes #@ always into va. Though according to some grammarians Pkt. is always to change 7a into a, it seems that such was not strietly the case with all its dialects. For example in the so-called Jain Pkt. (AMg. of Hemacandra) has initial and intervocal 77. ॥

58 (0.४60-579; BXVIL61). ‘It seems that at the time of the

834 THE NATYASASTRA { XVIII. 59.

59. To people who livein the Himalayas, Sindhu and Sauvira a language abounding in ४ should be assigned.?

60. To those who live on the bank of the Carmanvati river and around the Arvuda mountain a language abounding in o! (or ta) should be assigned.

61. These are the rules regarding the assignment of dialects in plays. Whatever has been omitted [here] should be gathered by the wise from the popular usage.

Here ends Chapter XVIII of Bharata’s Natyagastra which treats of the Rules regarding the Use of Languages.

author of the passage intervocal ca in this particular region was yet maintaincd or dental ४ sounds were mostly changed into ¢ sound (as in cittha for tistha),

59 (C.57b-58a; B.XVII.62). 1 This ~ perhaps relates to a elose pronounciation of the o vowel.

60 (C. omits this ; B.XVII.63). + ‘This ० perhaps relates to a open pronounciation of the % vowel.

61 (C.58b-59; BX VII.64),

CHAPTER NINETEEN MODES OF ADDRESS AND INTONATION

Different modes of address

1-2. These are, O the best of Brahmins, the rules on the use of languages(in a drama]. Now listen about the rules of popular modes of address? or the manner in which persons of equal, superior or inferior status ina play are to be addressed by those of the superior, the medium or the inferior class.”

Modes of addressing males : addressing great sages

3. As the great sages are adorable (lit. god) even to the gods they are to be addressed as “holy one” (Lhagavan)? and their wives are also to be similarly addressed.?

Addressing gods, sectarian teachers and learned men

4, Gods,? persons wearing sectarian teacher’s dress? and persons observing varied vows* are to be addressed as “holy one” (bhagavan)® by men as well as women.

1-2 (C,1-2, B.XVII65-66). ` This manner of addressing different persons includes referring to them before their ownselves or before otherse.g.. In Sak. (I), Dusyanta is referred to by his chariotcer as ayusman and then he is addressed in the same term (Vathajnipayaté aynsman, ayusman pasya pabya).

° Rules given hereafter do not cover all the numerous and different cases Occurring in the exant dramatic literature in Skt. and Pkt.

3(C.3; ए. णाक). ` Ex. Kagyapa (Kanva) addressed by his dis- ciple (Sak. IV.) Marica by Dusyanta (80. VII.) and Ravana in ascetie’s disguise by Rama (Pratima. V).

2 No ex. of this seems to be available in any extant drama.

4(C.4; BXVII.68). } Ex.: Agni (Abhi. VD. & Varuna (237d. IV).

2 Ex. (Ravana disguised as an ascetic addressed by Rama (Pratima. V.). The Jester in Pratijaz (IIT) addressing the Jain monk (8vamanaka) 1s bhaavam (bhagavan) to create laughter ; bhadanta would have been the proper term in this case. Sco below 15

9 Read here nanavratadhara (bha in B) for naniérutadhara (B) and #aina8rutidhara (C). Ascetics belonging to minor heterodox sects

336 _ THE NATYASASTRA [ XIX. 8-

Addressing the Brahmin ¢. The Brahmin is to be addressed as “noble one” (@rya),? Addressing the king And the king [is to be addressed as “great king” (maharaja),? Addressing the teacher The teacher [is to be addressed] as “professor” (Gcarya).? ६ Addressing an old man And an old man [is to be addressed] as “father” (tata).* Brahmins addressing the kinz 6. Brahmins may address the kings at their pleasure, by their names. This should be tolerated, for the Brahmins are to _ be adored by the kings. 1 Brahmins addressing ministers 7. A minister is to be addressed by Brahmins as “Coun- नाण (ama@tya) or “minister” (saciva),? and by other persons, inferior to them (ie. Brahmins) he [8] always [to be addressed] as “sir” (@rya).* Addressing the cquals 8. One is to accost one’s equals by the name with which they are styled?.

seem to have been included in this term. Ag. reads nanii&ruladharal, and explains this as JahuSretal.

5 (C.5; BXXVIL69). 1 Brahmin (Keéavadisa) in Madhyama, addressed by Bhima.

2 Ex. Sumantra addressing DaSaratha ( Pratima, T1), and Vibhisana addressing Ravana (Abhiseka IJ ). ;

5 Fix, Canakya addressed by his disciple (Mudra, I).

4 Ex. Bharata addressing Sumantra the old chariotcer (Pratima, VI.).

6 (6.6; B.XXVII.70). ¬ Ex. Indra disguised as 9 Brahmin addressing Karna (Karna.), Cf. Canakya addressing Candragupta mostly as Vrsala (or Sudra) in Mudra.

7 (€.7; B.XVIL71), ' No example of this rule seems to be available in any extent drama. Sec note 2 below.

‘Ex. The door-keeper (Jratihari) addressing Yaugandharayana ( Pratijia, I.). But curiously enough Rakgasa has been addressed not as ‘Arya’ but as ‘Amatya’ (counciller) by the door-keeper, and by his friend Viradhagupta too he is addressed likewise (Mudra, II).

. 8(C.8; B.XVIL72), } Ex, Canakya addressing Raksasa and ०८८८

versa (Mudra, VII.).

-XIX.11] MODES OF ADDRESS AND INTONATION 387

Privileged inferiors addressing superiors A superior person may however be addressed (or referred to)? by name by inferior persons when the latter are privileged to do 80४. Addressing employees, artisans and artists 9. Men and women in one’s cmployment?, and artisans and artists? are to be addressed as such (i.e. according to their status)®. Addressing persons of respect 10. A respected person is to be addressed as ‘honoured अ (bhava), and a person of slightly less so as “comrade (marsaka or marsa).} Addressing persons of equal status A person of equal status should be addressed as ‘brother’ (rayasya)? and a low person as ‘hey man’ (ham-ho)s The chariotcer addressing the chariot-rider 11. The chariot-rider should always be addressed by the charioteer as “long-lived one” (@yusman)!,

° B. saparivisram, so also Ag.

3 Tix. Hamsaka referring to Yaugandharayana before the latter. (Pratijiia. 1. 13.14). See above note 1.

9(C.9; BXXVII.78). 1 Yaugandharayana addressing Salaka by name (Pratijix. I. 2.4) and the hero Carudatta addressing the maid-servant Radanika (Carn, I. 21.15).

2 Ag. explains Aaruka and र as follows: कारकाः सुपकारादयः शिन्पिनिथितकारादयः, artisans arc those that build s/#fas and the like objects, artists are painters and the like.

3 Tix, The king addressing Haradatta one of the teachers of dramatic art (Malavi. I. 12.4).

10 (6.10; B.XVIL74). | Ex. pariparsecka addressing stitradhara as bhava, and sutra’ addressing paripirserka as marsa (Abhi. 1. 1.6,8). Sakara once addressing gta as bhava and next time as श्व (marisa) in Carn, 1.17.3; 26.3). The word mérsaka does not seem to occur any extant drama while ठ occurs very often. Sec Uttara. (I. 4.7) and Malavi (I. 1. 3).

* Ex. Siddharthaka and Samiddharthaka addressing each other (Mudra. VI. 2. 14, 16). 5

3 Tix. Canakya’s spy addressing his disciple as am-ho bamhana, (Mudra. I. 18.4). ‘

11 (C.11; B.XXVIT75), | Ex. Dusyanta’s priest addressing the two

43

388 THE NATYASASTRA [ XIX. 12.

Addressing an ascetic or a person with beatitude

An ascetic or a person who has attained beatitude (praganta)

is to be addressed as “blessed one” (sa’ho)*, Addressing princes

12. The crown-prince is to be addressed as “sire” (scdmin),!

and othar princes a8 “young master” (bharty-daraka)?. Addressing inferior persons Inferior persons are to addressed as “pleasing one”

(sawmya)®, “auspicious-looking one” (bhadra-mukha)* and such terms should be preceded by ‘0’ (1९४,

disciples of Kasyapa (Kanva) and Gautami fapgasornah (Sak.V. 11. 6), 2 The word sad@hu asa form of address does not seem to occur in any extant drama.

12 (C.12; BXVIL76). 'No cxample of this rule seems to be available in any extant drama. On the other hand उक is very often used in addressing a king. Ex, Yaugandharayana addressing the king Udayana (Svapna. VI. 17.1). Kauijayana and Bhiitika addressing the king Kuntibhoja (Avi. I. 5.8; 8.5). On the use of the word sodmin in inscriptions see Sylvain Lévi, Journal Asiatique, Ser. 9, XIX.95M% I. Ant. Vol. XXXIII. p. 163. Sita’s maid addresses Rama as 61411 (Pratima. I. 9.2), The door-keeper (Jrafzhari) refers to the crown-prince Rama as dhattrdi- raassa rimassa (Pratima, J. 2.9). and not as siimrassa riumassa, = `

* The word has been used with reference to the crown prince in Pratima. (oc. crt, I), In referring to other princes play-wrights use. the word ¢, In Pratima. वा. 14.12) Bharata has been addressed with this term, In Mudra. (IV. 12.5) Malayaketu has been addressed similarly Avimaraka, the lover of Kuraigi is addressed as dhatlidaraa by her maid (Avi. TI. 17 2)

४ This use of the term savmya docs not seem to oceur in extant drama, and bhadra appears to have taken its place, ag. Bharata addressing the messenger (S4ata) in Pratim’ (IIL4.2). Dusyanta addresses his chicf of the army (उरक) similarly (Sak. II. 5.4).

“ Tix, Rakgasa’s spy (purusa) addressing his door-keoper (Mudra. TV. 8.2). In Abhi, (VI. 31.1) Agni (god of fire) addresses Rima as bhadra- mukha though earlier, (VI. 26.7) he says: na me namaskiram kartum arhati devesah. The Jester addresses the candalas as bho bhaddamuha (व्ली, X. 23.3).

४ Tt does not seem to occur before these terms in any extant drama.

-XIX. 16] MODES OF ADDRESS AND INTONATION 839

Addressing persons by their occupation or birth 13. Ina play a person is to be addressed by a term appro- priate to his birth or to the vocation, art or learning practised by [7.1 Addressing a son or a disciple ४ 14. ^ disciple or a son is to be addressed by the guru or the father as “child” (vats)! “son” (putraka)?, “father” (काव) or by his own name or clan-name (yotva)*. Addressing Buddhist and Jain Monks 15. Buddhist and Jain (nirgrantha) monks are to be addressed as “blessed sir” (bhadanta)*. Addressing persons of other sects Persons of other sects? are to addressed by terms enjoined by their own rules® People addressing the king 16. The king is to be addressed by his servants as well as

13 (C.13; B.XVIL77). 1 Not many examples of this rule seem to be available in any extant drama. In Mrech. (X. 20.1) Carudatta’s son addressing the Candalas as ave candala may be an example of this.

14 (C.14; B.XVIL78). 1 Ex. Sauvira king addressing Avimaraka (Avi. VI. 17.4), Cf. Drona addressing Duryodhana (Pajiea. 1.22.3).

2 Ex. The form putraka does not seem to occur in any extant play. The from usually available form is pztra. Drona addressing Duryodhana as putra (Paiica I. 23.3). Duryodhana addressing his son similarly (Uru. I. 42.3).

४ No example of this seems to be available in any extant drama

“Ex. Vali addressing Aigada by name (Abhi. I. 25.2). Kaéyapa (Kanva) addressing Sarfigarava by name (Sak. IV. 16.1). Instances of a son or a disciple addressed by clan-name (go/ra) do not seem to occur ia any extant drama.

15 (C.15; B.XVI.79). ` Ex. Ksapanaka addressed by Raksasa and Siddharthaka as dhadanta (Mudra IV. 18.2; ए, 2.1). A Buddhist monk is very rarcly met with in extant dramas. Asvaghoga’s drama included such a character, but’ one cannot say from the fragments how he was addressed. (See Keith, Skt. Dr. p. 82)

? According to Ag. one is to understand by ‘other sects’ Pasupatas and the like.

° An example of such a rule is a term like 2264547 or bha- Sarvajina used in addressing Pasupata.teachers (Ag.).

16 (C.16; B.XVI.80),

840 THE NATYASASTRA [ XIX. 17.

his subjects as “lord” (deva),?, but when he is an overlord [of other kings] he is always [to be addressed] by his servants as “sire” (0१०2). । Sages addressing the king 17-18. The king is to be addressed by sages (rsi) as “king” (vajan)? or by the patronymic term?. The Jester addressing the king And he should be addressed as “friend” (vayasy)* or “king’ (vajan)* by the Jester (vidisala). Jester addressing the queen and her maids The queen and her maids are to be addressed by him as “lady” (bhavati)§, The king addressing the Jester The Jester is to be addressed by the king by his name or as “friend” (vayasya)®.

1Ex. The Kajicukin addressing the king तप्ता. IIL, 10.3). Ganadasa addressing the king (Malavi. I. 12. 8). Vibhisaya refers to Rama as deva (Abhi. VI. 20.3) when he is not yet a king; besides this the same Vibhisana addresses Ravana as mahariya (Abhi. II. 15.1. Sce also 12 note 1.

2 Ex. Yavanikii addressing the king Dusyanta (Sak. VI. 24.10), But in Bala. (IIL 3.1) the cowherds address Saikarasana as dhalta, and Nanda- gopa too addresses Vasudeva likewise (Bila. 1, 19. 30),

17-18 (C. 17-18; B, XVIL 81-82), ` Ex. Bhagavan (Yudhisthira) addressing the king Virata (Paiiea. II. 14.2).

? No ex. of this seems to occur in extant dramas. Narada addresses the two kings simply as Kuntibhoja and Sauviraraja in Avi (VI. 20. 8, 12).

8 Ey The Jester in Sak, ता, 2.1) and Malavi. (V. 3.18).

“No example of this seems to occur in any extant drama. In Ratna. (I. 16.35) the Jester once addresses the king as 60410,

5 Bhavatd in the Jester’s speech would be शण्डा, Ex. The Jester addressing the queen’s maid in Svapna. (IV. 0.28) also addressing the

queen (Malavi, 1V. 4,23.) and addressing the queen’s maid Susamgati (Ratna. 1V. 0.30).

Examples are easily available. Sce Svapna, Sak. Vikram. ete. The Jester is addressed also as sakhe. 866 Malavi. (IV. 1.1 and Vikram IL, 18.11. ete.) and as bhadva (Vikram. 1. 18.15).

-XIX.22] | MODES OF ADDRESS AND INTONATION 341

Women addressing their husband

19. By all women in their youth the husband should be addressed as a “noble one’s gon” (@rya-puira)?, but in other cases, the husband is to be addressed simply as “noble one” (@rya)?, and in case of his being a king he may be addressed as “great king” (maharaja)® also.

Addressing the clder and the younger brothers

20. The elder brother should be addressed as “noble one” (aya)? and the younger brother like one’s son?.

These are the modes of ४4८1088 to be used to male characters in a play.

Modes of addressing women

21. I shall now speak of the modes of address to be used

to female characters in a play. Addressing female ascetics and goddesses

Female ascetics and goddesses are to be addressed as “holy

lady” (bhagavati)*. Addresiing wives of senior persons, and elderly ladies

22. Wives of respectable seniors, and other elderly ladies

(sthaniya) ave to be addressed as “lady” (hha cati)?.

19 (C.19; B.XVII.83). } Examples are easily procurable; sec Sak, Malavi, Svapna ete.

2 Ex. Nati in the prologue (prastivana) addressing the sutradhara her husband (Caru, and Mudra).

3 Ex, Gandhari addressing Dhytarastra (Uru. I. 38.2). Urvasi refers to the king likewise (Vikram. IV. 39.2)

20(C.20; B,XVII. 84a 85a). } Ex. Laksmana addressing Rama (Pratima. I. 21.2). Sahadeva addressing Bhima (Veni. 1.19.12).

2 Usual from in such a case is vatsa; but the younger brother is also sometimes differently addressed, eg. by name of the mother as Saumitre, (Pratima, I. 21.1), Kaikeyimatah, (दाद, IV. 2.21). See above 14 and 4,

21 (C.21; B.XVIL85a-86a). ' The king addressing the privrasrka (Malavi. 1. 14.2); the Kaxeukin addressing the female ascetic (¢apasz) in Vikram. (ए, 9.2) 5

22. (C. 22; B. XVII 86b-87a). ' Ex. Sumantra addressing the widowed wives of Dagaratha as bhavatyah (Pratima. IIT. 12.2). The Kajicukin addressing the Pratihari in Svapna. (VI. 0.6)

342 THE NATYASASTRA [ XIX. 98- `

Addressing an accessible women and an old lady

An accessible woman (gamya)? is to be addressed as “gentle-

woman” (bhadie)® and an old lady as “mother” (amba)*, Addressing king’s wives

28. In a play king’s wives are to be addressed by their servants and attendants as “mistress” (bhattin)i, “madam” (seGmini)? and “lady” (devi)?.

24. [OF these], the term “lady” (deri)? should be applied to the chief queen (mahisi) by her servants as well as by the king, Tho remaining [wives of the king] are to be addressed [simply] as “mistress” (bhaédini) and “madam” (svamini)>,

Addressing unmarried princesses

25. Unmarried princesses are to be addressed by their

handmaids as “young mistress” (bharty-dariha)2.

> gamya— not within the prohibited degree of sexual relationship.

४ Kix. Avimaraka addressing Kuratgika (Avi. IIT. 19.0). Dusyanta addressing Priyamyada (Sak. T. 22.6). But the king addresses Citralekha as bhadramuhki (Vikranw II. 15.9) as well as bhadre (201४, TI. 15.0).

4 Ex. The king, Urvasi and their son addressing the female ascetic, (Vikram. V. 12.3,5,18).

23 (C. 23; B. XVII. 87b-88a). ` Ex, (i) bhatline. Nipunika address- ing the queen (Vikram II. 19-19); Kaicanamala addressing the queen (Ratna I. 18.11). But in Pratima (I. 5.4) the maid (ceti) addresses Sita who is not yet a queen, as baltic. (ii) Soament as aterm of address to the queen does not seem to occur in any extant drama.

* Bx. The maid (न्थ) addressing the queen Bhanumati (Veni. TI. 2.14).

24 (60.248, XVII. 88b-89a). 1 Seo above 28 note 2. For an cxample of king addressing the queen as dcvz see Pratijiia. II. 10.12.

५ The term bhogzini meant those who were merely an object of enjoy- ment 1.2, those who were not dharma-patnis (wives clligible to take part in religeous rites .

> No. cxample of svGmint being used in addressing such a wife seems to occur in any extant drama In Malavi. IV. 17.8 Nipunika addressing Irdvati the second wife of Agnimitra uses the term dhattint the very term to be used rightly for the chief queen Dharini.

25 (C.25; B. XVII. 89b-90a). ' Ex, The maid: (८) addressing Padmévati (Svapna. I. 15.11) and Kurangi (Avi. III. 0.48).

-XIX. 28] MODES OF ADDRESS AND INTONATION 348

Addressing a sister An elder sister is to be addressed as “sister” (bhagini)? and an younger sister as ‘child’ (vaése)*. Addressing a Brahmin lady, a nun or a female ascetic 26. A Brahmin lady, a nun (lingastha) or a female ascetic (vratini) is to be addressed as “noble lady” (Grye)?. Addressing one’s wife A wifeis to be addressed as “noble lady” (@ryc)* or by referring to her father’s® or son’s* name. Women addressing their equals 27. Women friends among their equals are to be accosted by one another with the word “hallo” (hala)*. Addressing a handmaid By a superior woman a handmaid (presya) is to be accosted with the word “hey child” (ham-je)?. Addressing a courtezan 28. 14 courtezan is to be addressed by her attendents as Ajjuka*, and when she is an old woman she is to be addressed by other charactors in a play as Atta’.

० This mode of address does not scem to occur in any extant drama. ef. Karp. I. p. 18.

3 ix, Yaugandharayana in the role of an elder brother addresses the queen who is playing the role of his younger sister as 246८ (Pratij-a. I, 9.11). C. om. 25a.

26 (C. 25b-26a; B. XVII. 90b-91a). | No ex. of this rule seems to be available in any extant drama. Parivrajika in Malavi (1) and the female ascetic in Vikram. (V) could have been addresses as 674८ instead of as bhagavatt, In Madhyama. Ghatokaeca addresses the wife of the Brahmin as bhavatt.

५ Ex. Satradhira addressing his wife ( Myech. I Malati. I)

3 eg. Matharaputri (Mathara’s daughter). No example scems to oceur in any extant drama.

4 eg. Somaarma-janani (SomaSarman’s mother). No example seems to occur in any extant drama.

27 (0. 26b-27a; B. XVII. 91b-92a). 1 For ex. sce Sak. Vikram. ete.

9 Ex. Sita addressing her maid (Pratima. I. 4.21), Iravati addressing Nipunika (Malavi. III. 14.1).

28 (C. 27b-28a; B, XVII. 92b-98a). - " Read the hemistich 28a as a Ba Fal BT लत्ताभाष्या परिजनेन च,

344 THE NATYASASTRA { XIX, 99.

Addressing wife in love-making 29. In love-making the wife may be accosted as “my dear” (priye)* by all except the king. But priests’ and merchants’ wives are always to be addressed as “noble lady” (arye)?. Giving names to different characters in a play 30. The playwrights should always assign significant names [to characters] which are not well-known and which have been created [by पीला]. Name of Brahmins and Ksatriyas 31. Of these, Brahmins and Ksatriyas in a play should, be given, according to their clan or profession, names ending in garman or varman, Naming marchants 32. The names of merchants? should and in (111५४,

Naming warriors

To warriors should be given names indicating much valour.*

2 Ix. the heterae (ganzka) addressed by her maid (Caru. IL. 0.6). The word ajjuka (*aryaki, OIA) “madam” afterwards came to mean ‘heterae’ as in the title of the Prahasana Bhagavadajjukiyam — by Baudhiyana Kavi

४ No example of this seems to be available in any extant drama. But the word oceurs in the form of aé7a in Mrech. (IV.30).

29 (C.28b-59a, B. XVII. 93b 94a). 1 Sakuntala is addressed as preve by Dusyanta (Sak. VIL 20.6), but the occasion is strictly not one of love- making (कण) ; Udayana while lamenting for Vasavadatta says Ila priye, his priya-Bisye cte. (Svapna. I. 12.58).

2 No example seems to be available in any extant drama.

30. (C.29b-30a: B.X VIL 94b-95a). ' No example of such names seems to occur in any extant drama.

31 (C.30b-81a; B.XVII. 25b-96a). ' No cxample of such names scems to occur in any extant drama.

82 (C.31b-32a; B.XVII. 96b, 97४). 1 Ex. Carudatta the hero ‘of Bhasa’s play of the same name.

2 B. reads after this one additional hemistich which in translation is as follows: The name of Kapalikas should end in ghanta. The inter- polator had evidently Bhavabhiti’s Aghoraghanta (Malati) in mind.

3 Ex. Virasena in Malavi. (1.8.1).

-XIX. 37] MODES OF ADDRESS AND INTONATION 345

Naming king’s wives 33. The king’s wives should be given names [which are connected] with the idea of victory (vijaya)1, Naming courtezans Names of courtezans should end in datt@?, mitra? and sena*, Naming hand-maids 34. Ina play hand-maids should be given the names of various flowers?. Naming menials Names of menials should bear the meaning of auspiciousness?. Naming superior persons 35. To superior persons should be given names of deep significance so that their deeds may be in harmony with such names}, Naming other persons

36. The rest of persons’ should be given names suitable to to their birth कात्‌ profession.

Names [that are to be given] to men and women [in ध play] have been properly described {by me].

37a. Names in a play should always be made in this manner by the playwright.

33 (C. 32b-33; B.XVII. 98). 1 No example of this seems to occur in any extant drama,

> No example seems to occur in any old drama. And the name Vasavadatta for the queen in several dramas scems to be a clear violation of the rule (See Svapna. Ratna. ete.).

3 No example seems to occur in any old drama.

4 Ex. Vasantason’ in Bhasa’s Caru. and Sudraka’s Mreeh.

84 (C,38b-84a; BX VIL 99). } Nalinika in Avi. (ID and Padminika in Svapna (V) scems to be rare examples of this.

? Ex. Jayasona the servant (hata) of the king (Avi. I).

35 (C.34b-35a; BXVII 100). ' No example scems to oceur in any extant play. ५

36 (C.35b-36a; BXVIT. 101). 1 प्रिह, Brehkmacari (Svapna, 1), Vite (Caru.) Devakulika, and Sudhikira (Pratimia. 1V.) ete.

37a (C. 36b; ए. XVII. 109४),

44,

346 THE NATYASASTRA (XIX 87-

37-38. After knowing exhaustively everything about the rules of language’ in a drama, one shonld practise Recitation which is to have six Alamkaras.

Qualities of Recitation

भ्‌ shall now describe the qualities of Recitation. In it there are seven notes (svara), three voice registers (sth@na), four Varnas (lit, manner of uttering notes), two ways of intonation (ka@ku), six Alamk@ras and six limbs (anya). I shall now explain their characteristics.

The seven notes (srara) are: Sadja, Rsabha, Gindhara, Madhyama, Paiicama, Dhaivata and Nisada. These are to be made suitable to different Sentiments.

Seven notes to suit differment Sentiments

38-40. Inthe Comic and the Erotic Sentiments the notes should be made Madhyama and Pajicama. Similarly in the Heroic, the Furious and the Marvellous Sentiments they should be made Sadja, and Rsabha. In the Pathetic Sentiment the notes should be Gandhara and Nisida, and in the Odious and the Terrible Sentiments they should be Dhaivata.

Uses of the three voice registers

There are three voice registers (sthaua) ; the breast (mas) the throat (antha) and the head (giras).

40-41. Tn the human body as well as in the Vind notes and their pitches proceed from the three registers : the breast? the throat and the head.

41-42. In calling one who is at a distance, notes proceeding from the head register should be used, but for calling one who is not at a great distance, notes from the throat register is to be used, while for a person who is by one’s side, notes from the breast [will be proper].

37-38 (C. and prose 87a ; BXVII. 102b, 1028). ¬ It will be apparent from the notes given above that the rules regarding forms of address have very often been overlooked in extant dramas.

* The text from here till the beginning of 38-40 is in prose,

38-40 (C.38-39; B.X VII. 103b, 104-105a).

40-41 (6.40. 41a; B.XVII. 105b-106),

* 41-42 (C.41b-42a; B.XV11.107),

-XIX, 44] MODE OF ADDRESS AND INTONATION 347

42-43. At the time of Recitation, a sentence begun with notes from the breast should be raised to notes of the head register and at its close it should be brought down to notes of the throat,

Uses of the four accents

43. In Recitation the four accents will be: acute (वकद) grave (auudatta), circumflex (svarite) and quivering (kampita).

Recitation in circumflex and acute accents is suitable to the Comic and the Erotic Sentiments, acute and quivering accent 18 suitable to the Heroic, the Furious and the Marvellous Sentiments, while grave, circumflex and quivering accents are appropriate to the Pathetic, the Odious and the Terrible Sentiments.

Two ways of intonation

There are two ways of intonation, eg. one entailing expacta- tion (s@kanksa) and another entailing no expectation (nirakanksa), These relate to the sentence uttered.

44. A sentence which has not completely expressed its [in- tended] meaning, is said to be entailing an expectation (sakanksa) and a sentence which has completely expressed such a sense, is said to be entailing no expectation (nirakanksa),

*Now, entailing an expectation relates to [the utterance of a sentence] of which the meaning has not been completely expressed und which has notes from the throat and the breast, and begins with a high pitch (tara) and ends ina low pitch (mandva) and has not completed its Varna or Alamkara.

And, entailing no expectation relates to [the utterance of a sentence] the meaning of which has not been completely expressed and which has notes from the head and begins with a low pitch (mandra) and ends with a high pitch (tara) and has completed its Varna and Alamkara.

42-48 (C.42b-48a; B.XVII.408).

43 (C. 48b, 48c; B. XVII. 109-110). 1 The text from here till the beginning of 44 is in prose. :

44 (0. 44; B. रणा. D1). ` The text from here till the beginning of 45 is in proge. |

348 THE NATYASASTRA [ XIX. 46.

The six Alamkaras

45. ‘The six Alamkaras of the [note in] Recitation arethat it may be high (wee), excited (काय), grave (mandra), low (nica), fast (druta), and slow (vilambite). Now listen about their characteristics.

Uses of the six Altmkiras

2The high (cca) note proceeds from the head register and is of high pitch (fara) ; it is to be used in speaking to anyone at a distance, in rejoinder, confusion, in calling anyone from a distance, in terrifying anyone, in affliction and the like.

The excited (dipta) note proceeds from the head register and is of extra high pitch (faratara); it is to be used in reproach, quarrel, discussion, indignation, abusive specch, defiance, anger, valour, pride, sharp and harsh words, rebuke, lamentation? and the like.

The grave (manda) note proceed from the breast register and is to be used in despondency, weekness, anxiety, impatience, low-spiritedness, sickness. deep wound from weapons, fainting, intoxication, communicating secret words* and the like.

The low (ica) note proceeds from the breast register hut has a very low pitch (mandra-tara) sound ; it is to be used in natural speaking, sickness®, weariness due to austerities and walking a distance, panic, falling down, fainting and the like.

The fast (८1९) note proceeds from the throat register and is swift ; itis to be used in women’s soothing children (lallana) refusal of lover’s overture (manmana)®, fear, cold, fever, panic’, agitation, secret emergent (दा), act. pain and the like.

45 (C.45; BX VIL. 112-114). 1 the text from here till the beginnig of 46 is in prose.

> (1, नण, °krandita’, nirbhartsana®

४ B. inserts Arida after vyadhe.

4 C. om. guhyaranthavacana,

5 After vyadht read tapa-pathesranta-trasta.

५ (. skhaltta-vellana-madana for lallana-manmana. Onthe meav- ing of dalla (lallana) and manmana there is no unanimity. We follow Ag’s upadhyaya, who says waar नाधिकागतौ wefan, सुवेष अआरयपरुमियोगागङ्गीकरणादौ च (Ag)

1 After tras (¢rasti,C.) read yastvityayika (gudha) hiryavedanidtsu.

-XIX, 56 | MODES OF ADDRESS AND INTONATION 349

The slow (vilambita) note preceeds from the throat register and is of slightly low pitch (mandra)® ; it is to be used in love®, deliberation, discrimination, jealous anger, envy, saying something which cannot be expressed adequately, bashfulness, «anxiety, threatening, surprise, censuring, prolonged sickness£°, squeezing and the like. (On this subject] there are the following traditional couplets :

46-48. To suit various Sentiments the intonation (kali) should always be made high (weer), excited (dipta), and fast (druts) in a rejoinder, confusion, harsh reproach, representing sharp- ness and rougliness, agitation, weeping, challenging one who is not present (lit. away from the view) threatening and_ terrifying [anyone], calling one who is at a distance, and rebuking [anyone].

49-50. Intonation should be made grave (andre) and low (nice) in sickness, fever, grief, hunger, thirst, observation of a lesser vow (14114), deliberation, deep wound from a weapon, communi- cating confidential words, anxiety and state of austerities.

51. Intonation should be made grave (mandra) and fast (druée) in women’s soothing children (lal/a)!, refusal to love’s overture (mawmana)?, panic and attack of cold.

52-55. The intonation should be made slow (rilambita), excited (2/८) and of low pitch (manda) in following an object lost after being seen, hearing anything untoward about a desired object or person, communicating something desired, mental वला beration, lunacy, envy, censure, saying something which cannot be adequately expressed [by words], telling stories, rejoinder, confusion, an action involving excess, wounded? and diseased limb, misery, grief, surprise jealous anger, joy and lamentation.

°C. mandra for tanumandra. ५ B. reads Aaruna atter Sritgara.

1° (1, reads rosa for roga.

46-48 (C.46-48; BX VII. 115-117).

49-50 (C om. B.X VII. 118-119). %

81 (C.49; B. XVII. 120). ' C. malle ca mardane tor lalle ca manmane. ५ See note 1.

51-55 (८. 50; 51a-b3a, 5b, 53b, B.XXVIL-121-124). | Read viksate oyadhite tvange.

850 THE NATYASASTRA [ XIX. 56-

56, Grave (mandra) and slow (vilambita) intonations have been prescribed for words containing pleasant sense and bringing in happiness?. .

57. Exited (dipta) and high (कष्टक) intonations have been prescribed for words which express sharpness and roughness. Thus the Recitation should be made to have to different intonations (lit. shelter) by the producers?.

Tntonation in different Sentiments

58-59. Slow intonation is desired in the Comic, the Erotic, and the Pathetic Sentiments. In the Heroic, the Furious and the Marvellous Sentiments the excited intonation is praised. ast and low intonations have been prescribed in the Terrible and the Odious Sentiments. Thus the intonation should be made to follow the States (bhava) and the Sentiments,

Six limbs of enunciation

1Now there are six limbs [of enunciation] such as Separation (viccheda), Presentation (arpana), Closure (visurga), Continuity (anubundha), Brilliance (dipana) and Calming (pragamana).

Of these, Separation (viccheda) is due to pause (vtramd). Presentation (urpana) means reciting something by filling up the auditorium with graceful modulation of voice?. Closure (visarya) means the finishing of a sentence. Continuity (anubandha) means the absence of separation between words® [in a sense group] or not taking breath while uttering them. Brilliance (dipana) means the gradually augmented notes which proceed from the three voice registers (séhana), and Calming (pragamana) means lowering the notes of high pitch (tara) without making them discordant.

Now about their uses in connexion with different Sentiments,

56 (C.54; B.XVII.126). 1 B. reads one additional couplet before this.

57 (C.55; B.XXVII.127). 'C. reads three additional hemistiches after this.

58-59, (C.57b, 58; B.XVII. 128-181). 1 The text from here till the beginning of 60 is in prose. ;

? B, Llayamanamadhuraval guna for lilavarna.

5 B. padantaresu vicchedah for °aresvavicchedah,

-XIX. 60 ] MODES OF ADDRESS AND INTONATION 351

In the Comic and the Erotic Sentiments* the enunciation® should include Presentation, Separation Brilliancce and Calming.

Tn the Pathetic Sentiment it should include Brilliance and Calming.

In the Heroic the Furious and the Marvellous Sentiments it should abound in Separation, Calming, Brilliance and Continuity.

In the Odious and the Terrible Sentiments it should include Closure and Seperation.

All these are to be applied through notes of high (tara), low (manda) and medium (madhya) pitch proceeding [from the three voice registers]. In addressing one at distance the notes should be made of high pitch (tara) from the head ; the person addressed being not at agreat distance the notes should be made of medium pitch (madhya) from the throat, and to speak to one at one’s side notes should be made of low pitch (mandin) from the breast. But one should not proceed to the high pitch (tara) from the low (mandra) one, and from the low pitch to the high one. ‘The three kinds of tempo (laya) of these notes are to be utilised in diflerent Sentiments. In the Comic and Erotic Sentiments the tempo should be medium, in the Pathetic it should be slow and in the Heroic, the Furious, the Marvellous, the Odious and Terrible Sentiments quick.

Pause defined

®Now, Pause (vir@ma) in connexion with enunciation is due to the completion of sense and is to depend on the situation (lit. practical), and not on metre. Why ? Because it is found in practice that there occurs pause even after one, two three or four syllables, ¢.9.

60. kim gaccha ma visa sudurjana varitd’si | karyam tvayai nama ma sarva-janépabhukta? 1

What [is the matter]? Be off. Don’t enter. You are prohibited

ak: - = कः a ५ ए. adds akahksaiyam after hasya-Sriigarayor,

5 C. vakyam for pathyam. ° The text here is in prose. £ 60 (C, 59; B.XVIT. 182). ' B. १4५६८५४ C. bhuktah.

352 THE NATYASASTRA (XTX. 61.

[to enter], 0 very wicked man, the enjoyed-by-all, I have nothing to do with you’. Use of Pause Thus in a play (lit. poetical composition) occur words con- taining small number of syllables in cases of Siica® and Ankura* {which are connected with Pause],

Hence, care should be taken about Pause. Why ? Because {an observation of] Pause clears the meaning. There is a couplet (on this subject] :

61. In the [Verbal] Representation (alhinaya) the pro- ducers should always take care about Pause ; for, on it depends the meaning [of words uttered],

Hands in connexion with Alamkaras and Pause

62. Keeping the eyes fixed 10 the direction in which the two hands move one should make the Verbal Representation by observing proper Pauses for indicating the [intended] meaning.

63-64. In the Heroic and the Furious [Sentiments] the hands are mostly occupied with the weapons, in the Odious they are bent due to contempt, in the Comic they are to point to {something], in the Pathetic they ave to hang down and in the Marvellous they are to remain motionless due to surprise.

65. On similar other occasions *too, the meaning should be made clear by means of Alamkaras and Pauses,

66-67. Pauses which are prescribed in a verse require Alamkaras. Pause should be observed after a word, when the meaning or the breath (jana) requires it. And when words and ayllables are combined into a [hig] compound or [the utterance is] quick, or confusion about different meanings is liable to arise, Pause should be observed at the end of a foot or as required by the breath. In the remaining cases Pause should ‘depend on the meaning,

* These ure the words of a vipralabdha Heroine.

? Seo NS. XXIV, 48, ५ See NS, XXIV. 44, 61 (C.60; B.X VII. 133). 62 (C 61; B.XVII. 134). 63-64 (C.62-63; B.X VII. 135-136). 65 (C.64; B.XVII.137)

‘66-67 (C.65-67; B.XVII. 138-140a).

4

-XIX.75] MODES AND ADDRESS AND INTONATION 353

1Here one should know about Drawn-out Syllables (Avsya- I:gara)? in connexion with the States and the Sentiments. e.g.

The Drawn-out Syllables and their use

68-69. The consonant ending in a long vowel like क © ai, or au is known as a Drawn-out Syllable. In sadness, argumenta- tion, questioning or indignation such a syllable should take (lit. be pronounced in) one Kala time.

70. As for the rest of the syllables they may be pronounced with Pause required by their meaning, and such a Pause may be one, two, three, four, five or six Kalas’ duration.

71. The Pause being of great duration (vilambita) the syllable pronounced will always’ be [rendered] long. But its duration should not be more than six Kalas?.

72. Or, taking account of the practice as required by some cause, or of the acton one should observe Pause in a yerse to suit the State or the Sentiment [involved].

73 In verse, Pauses arising from the foot-division [only] are recognized ; but the position of these may be varied [on the stage] by the experts to suit the meaning [of a passage.

74. But [while observing Pause as directed above] one should not creat (lit. pronounce) ungrammatical words (apagubda) or spoil the metre, and one should not pause too long except in places of cacsura, and in [uttering words expressing] sorrow one should not make the intonation excited (काव) प,

lod

75. One should recite a dramatic composition (lavya) which is free from literary defects (ha@vya-dosa), possesses best characteristics and has {literary] qualities, and in such a Recitation

1 The text here is in prose. We follow B.’s text. > 0, nikystaksara for kisyaksarae 68-69 (C. 68-69; B.X VII. 140-141). 70 (C.70; BEX VIII. 149). 71 (C.71; B.X VI. 143). 3 €, yadé for sada, 2 C. padinam for kalanam.° 72 (6, 7le-72a; BXVII. 144) . 78 (72b-78a; (ए. णा. 145). 74 (C.73b, 74a; B.XVII. 146). ` €, repeats 77a before this. 75 (C. 75; ए. ए. 147). 45

854 THE NATYASASTRA [ XIX, 76-

one should observe proper rules relating to the utterance of notes and their Alamkiras.

70. Alamkaras and Pauses that have been prescribed in case of Sanskritic Recitation should all be observed in un-Sanskritic (Prakritic) Recitation of women as well.

77. Thus in the representation of the ten kinds of dramatic works (च्छव) producers should prepare Recitation subject to an observance of proper notes, Kala, time (fala) and tempo (Jaya).

78, Rules of intonation have been described [by me] in proper sequence. I shall describe hereafter the ten kinds of dra- matic work.

Here ends Chapter XIX of Bharata’s Natyagastra which treats of the Display of Intonation in Connexion with the Verbal Representation.

°

76 (C. 76; ए. णा. 148). 77 (C, 77; BXVIL149). ` 78 (6, 78;-B.XVIL 150)

CHAPTER TWENTY TEN KINDS OF PLAY

1. I shall now describe the tenfold! division of plays together with their names, functions and modes of production.

2-3. For their definition (कत) plays are known to be of ten kinds such as Nataka,* Prakarana, Anka (Utsrstikanka)*, Vyayoga, Bhina, Samavakra, Vithi, Prahasana, Dima’, and Thamrga. T shall describe their characteristics in detail (lit. from the beginning).

4. Styles (r7tti) are known as the constituent elements of all dramatic works (lit. poems). Considering their production the ten kinds of play are considered to have proceeded from these.

5. Just as the Jitist and the Srutis? of notes constitute a

scale (yr@ina)®, so varieties of Styles make up the dramatic com- position (kavya-bandha),

6. Just as the Sadja? and the Madhyama? scales include all the notes, so these two {kinds of] dramatic compositions (Nataka and Prakarana) are made up of all the Styles.

7. The Nataka and the Prakarana are to be known as

made up of all the Styles and they utilise all the different methods of constructions’.

1 (6.1; BXVIIL 1). 1 Old writers on the subject like Kohala men- tion additional types of play such as Sattaka, Totaka and Risaka (Ag.) Bhoja ignores the Totaka and recognises only twelve kinds of play includ- ing"the Natika mentioned in the Ns, (Sco, V. Raghavan, Sr. Pr. p. 27)

9-3 (C. 9-3; B.X VIII. 2-3). 1 This word is sometimes loosely used as a synonym of rapa or ritipaka.

2 To distinguish it from aka meaning “an Act”, it it also called Utsystikaika.

3 It is evidently a non-Aryan word.

4 (6.4; B.XVIII. 4). ' See NS, XXIL ९

5 (C. 5; BXVIII. 5). } See NX. (C.) XXVIIL. 36४, ० एष्ट, 3 107९.

6 ९6. 6; BXVIIL 6) 1 See NS. XXVIIL. क, > sed,

7 (6. 7; B.XXVIII7). 1 It seems that 6 and’ 7 have taken each other's place.

366 “THE NATYASASTRA [ XX. 8-

8-9, Plays of the Vithi, the Samavakara, the Ihdmrga, the Utsrstikaika (Aka), the Vyayoga, the Bhana, the Prahasana and the Dima classes should be made devoid of the Graceful Style. I shall hereafter describe the different methods of constructing plays.

The Nitaka

10-11. [A play} which has for its subject-matter a well- known story*, for its Hero a celebrated person of exalted nature (udatia)® or which describes the character of a person descending from a royal seer®, divine protection [for him], his many super- human powers* and exploits such as, success [in different under- takings] and amorous pastimes, and which has appropriate number of (lit. richly furnished which) Acts (aike)® and Introductary Scenes (pravesula), is called a Nataka.®

12. Charaeter of kings, their acts and movements represent. ing many States and Sentiments and arising from (lit. made by) their joys and sorrows (when described in a play] is styled a Nataka.

The Act 3. After considering the denounment (harya) suitable to the particular stage [of the plot} an Act should be constructed by expanding the Turning point (Jindu) [of the play] It should be furnished with a group (yon) [of characters}, =

8-9 (6. 8-9; B.XVIIL 8-9).

10-11 (C. 10-11; 7. णा, 10-11). ' [¢ must occur in some form in a Purana, Itihasa (Ram. and Mbh-) or any other celebrated work (eg. Brhatkatha).

9 Rama, Kysna and Udayana are cxamples of such persons. This and the other conditions mentioned in the note above exclude living persons as Heroes of the Natakas. Cf. ND, p. 27.

3 Janaka and Visvamitra are examples of such persons,

* Divine personages may be introduced in a Nataka only as Heroes of an Episode (fasaka) or Episodical Incident (एष्व). See Ag. and ND. (loc ८५).

$ For the description of Act (anka) sce below 13-15,23.

५ For a description of the Introductory Secne (pravesaka) 8९९ below

19-21; 27-85. 12 (6.19 BXXVIIL 12), 13 (C.13, BXVIIL 13). ' ©, reads this couplet differently.

-XX. 18 ] TEN KINDS OF PLAY 357

1+. The Afka (Act) is a rudAi} (traditional) word. As, by means of the States and the Sentiments. it causes the meanings [of plays] to wha (to grow) through [an adherence to} some [technical] rules, it is called an Anka (Act)?.

15. An Act should be brought to a close by (lit. in) a division of the play, and no final disposal of the Germ (Jija) should be made in it? And the Turning Point (bindu)? of (lit arising from) a play should again and again (lit. always) be made to occur (lit. pervade) in the plot (vaséu).

16. That [part of the play] where a [particular] meaning is fully expressed, but where the Germ (lija) is not} finally dis- posed of, is always to be known asan Act which slightly attaches itself to the Turning Point (bindu).

17. An Act which relates to the direct exploits of the persons (lit. Heroes) mentioned [before] and their various States, should not be made too longt.

18. It should also be known that the Act is to contain the various Sentiments arising from [words and deeds of} the queen? of the Hero, his superiors,” priest, minister and leader of the army (sarthacaha)3.

14 (C.14; BXVIIL 14). 1 the root 74—to grow.

2 This is an instance folk-ctymology and does not help us at all to understand the real meaning of the word,

15 (C.15; BXVIUI. 15). 1 From the Turning Points, the plot attains rapid a movement, and due to these the dramatic situations arise.

2 (1, om. karya after anka-samaptih and reads kiryacchedo na for kavyaccede na, C. kavyacchedana, B. Sigaranandin’s explanation of this is far-fetched (See NL, p 11)

16 (C.16; BXVIIT. 16) ¬ Emend ca into xa. Such an emendation seems to be necessary from the special meaning of the word disa. Cf. sarvesam aikanam yo'riho bijalakasanah (Ag).

17 (C17; BXVIIL 17). 1 Sagaranandin reads this differently. See NL. p, 11.

18 (C.18; B.XXVIIL18). ' Queens include his concubines and tke mahiaderi (chicf queen) (Ag.).

* Superiors include his parents and teachers (Ag).

* Sarthaviho'tra senapatih (Ag): In extant dramas . senagats _seldom appears. ;

358 THE NATYASASTRA [ XX. 19.

Incidents not direetly presentable in an Act

19. Feats of anger, favour, grief, pronouncing a curse, running away, marriage, commencement of some miracle and its actual appearance, should not be made directly visible in an Act?.

20. A battle, loss of a kingdom, death, and siege of a city being not directly visible in an Act!, should be presented by Introductory Scenes (pravesaka).

21. In an*Act or in an Introductory Scene of the Nataka or the Prakarana there should be no killing of a person who is known as the Hero!.

22. is flight, treaty or capture should always? be indicated by means of special descriptions (lit. poetical passages) and the Introductory Scenes will refer to such incidents (lit. acts),

23. An Act should cover incidents that can take place in course of asingle day; it should relate to the Germ of the play and should proceed without a hindrance of the routine duties.

19 (C.20; B.XXVIII.20). ? B.and ©, read before this one additional couplet which in trans, is “Lhe number of Acts in the Nataka and the Prakarana should not bo less than five and more than ten (read pancaparis dasi para in the text)”, But in view of the couplets 25 and 57 below, this scems to be superfluous.

५ anke’pratyaksajani=anke +apratyaksajini (anka-pratyaksa, C.). Sec An. R, commentary (p.53) where we have अरहुतद्गेनमङे wife awa न सुः see also 20 below.

20 (C.21; BXVIIL38) `" This clearly shows that death scenes were not prohibited on the ancient Indian stage. See NS. VIL85. note 1.

2B. pratyaksind tu nalake for apratyaksakitant. Cf, Sagara- nandin’s view on this point (NL. 1.13).

21 (C.22; BXVIIL39). ' A misunderstanding of this rule as adopted in SD. (274) has given rise to the belicf of modern scholars that the ancient Indian drama did not permit death-scencs on the stage. See Keith, Skt. Dr. p.293, 354; Haas, DR. p.93.

22 (6.28; BXVIII40). ` B. reads yosyak for nityam, and kavya- Slesair bahubhir yathiirasam nitya-tattvajirath og 22b.

28 (C.24; 8.2 णााा.४1), | B. apravrtiam for ‘apravrtiah. Sagara- nandin reads it with a slight difference. He quotes also’other views about the duration of incidents presented in an Act, See NL. (p.18).

EX. 30] "TEN KINDS OF PLAY 359

24, A wise playwright should not put in [too] many inci- dents ina single Act’. And incidents in it should be depicted without a hindrance of the routine duties®.

25. Persons who will enter the stage in an Acct (11४, there) ` will go out after performing things connected with the Germ and the meaning of the play, and [they are to create] the proper Sentiments.

26. Knowing the length of a day which is divided into Ksanas', Yamas? and Muhiirtas* one should distribute all the different incidents in a play to different acts.

The Introductory Scene

27. When incidents that are to be finished in course of a {single} day, cannot be accommodated in an Act they should be presented in Introductory Scenes after closing the [same] Act.

28. [Incidents] that may take place in course of a month ora year, are also to be presented [similarly] after closing the Act? ; but [incidents covering] more than a year should never be treated [in such a manner].?

29. When in an Act any person goes out on business to a distant land, it should be bronght to a close [at that point] as perseribed before.

30. With an Act of the Nataka and the Prakarana the Hero should be closely associated. And an Introductory Seénet should be made up? of a conversation of attendants.

24 (6.25; B.XVIII22). ` Read सदा na instead of ekankena (B.C.). The controversy over the reading is anterior to the time of Ag. (Sce Ag.).

9 Routine duties include prayers as wellas taking meals. (sandhyi- vandanaadt ).

25 (C.26; B.XVIII.23). 26 (C.27; BX VIII 25).

27 (6.28; B.XVIII.26). 1 Ex. Avi, I, Vikram, V. ;

28 (C.29, BXVIIIL31). 1 C. reads aikacchedam kuryit for ०८८१८. dam श्र. The meaning of this rule is that an Act will include events covering a month'or a year. But this contradict 23 above. -

29 (C.30; B.XVIII.32). ति

30 (6.81; १. ए्ा.28), ˆ " B, एद for Rartanyah;, C. pravesake for pravesako.

260 । THE NATYASASTRA { RX. 31-

31. An Introductory Scene in the Nataka and the Prakarana should be made to relate? to the essentials of the Turning Points (bindu) and follow the preceding (lit. another) Act.

32. It (the Introductory Scene) should not consist of exploits of the superior and the middling characters, and there | should be no exalted speech in it. And in practice it should adopt speeches and manners of the common people.

33. An Introductory Scene may have many purposes. [For example], it may indicate the advent or passage of time, change of the Sentiments or the beginning fof an Act] or the denounment (kaya).

34. Incidents which depend on many [persons] are to be compressed by means of Introductory Scenes or in Junctures (sandhi). Fora play containing [100] many prose passages* will be tiresome [to the actors] at [the time of] the production [of the play],

35, When a particular item connot be completely presented in an Act lest it should be too large for [successful] production, its account should be compressed in a few words and put in an Intro- ductory Scene.

The Explanatory Secne

36. In the Nataka the Explanatory Scene (viskambhaka) should always be made up with the middling characters? and_ it

31 (C.32; BXVIIL83). = । C. dhavat? kanycam for samordhitanyiil.

82 (C33; BUXVIII.34).

83 (C.34; BXVIIL35), `" Read 38a as alaleriaafaceararaaae- विषयाणाम्‌, Cod areata, B.).

2 B, reads the first hemistich with the change accepted by Ag. The passage in B. in trans. will be as follows: An Introductory Scene may have many purposes. Vor example, it may indicate the advent or

passage of time, or present some explanation or other aspects of planning the denoument (arya).

२4 (6.35; B.XVIII86), | For dahuctirnapadaty yuktam. ©. reads bahu-piirna-padyaorttam, 35 (C.36; BX VIII37).

36 (0.37; B.XVIIL54), 1 This is meant that superior characters do not appear in an Explanatory Scene, Sce.below 37 note.

-XX. 41] ` TEN KINDS OF PLAY 3861

should be concise and follow the polished style of speaking (samskota-vacana).?

37. It should be of two kinds : pure’ (dha) and mixed (sambirna), Of these, the pure is made up with the middling charac- ters, and the mixed with the inferior and the middling characters,

38. In the Nataka and the Prakarana an Explanatory Scene between two Acts or at the beginning of an Act, should always include the middling and the inferior characters?.

Number of dramatis personae

39. The Nitaka and the Prakarana should not be made to contain a great number of attendants [to the Tero}, The Hero’s attendants (lit, men of work) in such plays (lit. there) should [at most] be four or five?.

40. Plays of the Vyayoga, the Ihimrga, the Samavakira, and the Dima classes should be made to have ten or twelve characters **?,

Tntrodueing chariots and palaces on the stage

41. A chariot, an elephant, a horse and a palace should not be presented on the stage. These should be provided [in a play] by means of appearance and costumes? [of men concerned] and [their] Gaits? and movements (yati-vicara)®,

37 (C.38; BXVIIL55). |) Kx, Pratijia UL. Sak, TID

2 Tex. Pratima. 11, Vikram. IIT.

88 (C.39). ' The exact significance of this rule is not clear. It possibly means to say that plays other than of the Nataka and the Prakarana types, will not allow पो lixplanatory Seene of the mixed kind. An example of such a scene probably occurs in the Paiica. of Bhasa, which does not fall into any of the known types of drama. See Pusalker, 1178२ pp. 209.

89 (८.40; B.XVIII41). ` This rule is possibly meant for avoiding the practical difficulty of producing adrama with too many characters.

40 (C.41). ' ©, gives it ina mutilated form. Its second hemistich should be read as dasabhih dvadatabhir vis karyiint......

41 (6.42). ` This couplet should be read ne न लबतरणं कायं रङग रधवाजी- विमानाना्‌। तेषामाक्तिवेषेविंधानसुक्तं afeaart:, ॥

* Soe NS. XXIIL 6-9, ° See NS. XII. ` 46 `

362 THE NATYASASTRA [ XX. 49-

42. Butan elephant, a horse, a palace, a hill or any con- veyance as well as imitation weapons may be presented (lit. made) by means of model-work by these who know the rules [for their construction}?.

Introducing an army on the stage

49. Jf due to any reason? a detatchment of an army is to be introduced on the stage (lit. here), only five (lit. four} or six persons are to make their appearance (lit. going).

44, {In a play an army] should be made to appear as con- sisting of a small number of men, representing mounts and travelling requisites, and it should move slowly, For in the military role (sata)? of the actors, [actual] rules of polity do not apply.

45. In the composition of a play Denoument should be made {like] the tip of the cow’s tailt, and all the exalted situations (lit. states) should be put at the end.

46-47. At the conclusion of all the plays which contain various States and Sentiments, experts should always introduce the Marvellous Sentiment®, ‘Thus I have briefly but properly spoken about the characteristics of the N&taka. I shall hereafter describe the Prakavana by mentioning its characteristics.

The Prakarana ;

48. The play (lit. where) in which the writer prahurude (devises)? by his own genius an original plot with its Hero, and works up its elaboration (sia), is called the Prakarana.

42 (C.42). ™ See above 41 note 2.

43 (C.44). "1 Emend karunopapannis into kitranopa’.

? Emend dartavyamantra into karlavyam atra.

44 (6.45). 1 Emend dsafene into hyatre na.

45 (C.46; B.XVIIL.42). | The exact significance of this expression as well as the implication of the entire rule is not clear. Ag. however quotes two different views on the subject but none of them seems to be convincing,

46-47 (C.47-48; B.XVIJL43-44), 1 This is mostly to be done by causing unexpected things to happene The sudden revelation of Avantika as Vasavadatti in Bhasa’s Svapna, (VI) and the dramatic reunion of Sakuntali with Dusyanta in Sak. (VII) are examples of this rule.

48 (6.49; BXXVIII45), 1 From this it may be assumed that 01166 there were Prakaranas in which the plot was not wholly original, 1, the

-XX. 64] TEN KINDS OF PLAY 363

49, When a playwright constructs a play with an original (lit. invented) Germ and a plot which is not connected with Reis’ works? and which that play has gathered from some other works and has some marvellous qualities in it, the same is also called the Prakarana.

50. The plot and its claboration as the basis of the Senti- ments,! which bave been prescribed in case of the Nataka are also to be applied with [the the detail of] their characteristics to the Prakarana in all its Junctures (sandhi)?,

51, The varied exploits? of Brahmins, merchants, ministers, priests, officers [of the king] and leaders of the army [when pre- sented in a play] are to be known as the Prakarana?.

52. The Prakarana should be known as not made up with an exalted Hero. And it does not contain the character of any god, has no story of king’s enjoyment, and it is connected with the men outside [the royal palace}.

58. The play of the Prakarana type should include [in some cases] servants, parasites (vita) and heads of the merchants’ guild, {as characters and should contain incidents arising from] the conduct of courtezans as well as exploits of depraved women of good family.

54. [In an Act of the Prakarana] where a minister, head of the merchants’ guild, Brahmin, priest, minister and leader of the

playwright worked up materials from the source of the plot, such as Mbh. Ram. and Brhatkatha. See above 10-11 note 1.

49 (C.50; B.XVIII.46). ! Rim and Mbh. are’examples of such works,

50 (C.51; BXXVIILA7). | ©, rastSrayopetam for ca orttibhedas ca.

2 ©. kevalam utpidyavastu syat for salaksanam sarva-sandhisu tu.

51(C.51; B.XVIIL48). + From this “varied exploits” one is to understand that Prakarana was not concerned exclusively with love-themes.

? The types of characters mentioned in the rule are mostly absent in the seanty number of extant plays of this type. The Pratijiia. is an example of a Prak. having ministers as its Hero.

52 (6.58; B.XVIIL.49). 53 (C.5-4; B.X VITL50).

54 (C.55; B.XXVIILS1).

364 THE NATYASASTRA . [ KX. 56.

caravan stay in their family circle, no courtezan should be brought in there?

55. (In the Prakarana] when a person is in the company of a courtezan there should not be [at the same time] his meeting with any respectable woman (lit. woman of good family), and while he is with a person of high family no courtezan should meet him then,

56. If out of necessity (lit. reason) there occurs a meeting? of courtezans and respectable ladies in [any scene of] a2 Prakarana their langnage and manners should be kept undistorted.

57. In the Natuka and the Prakarana the — playwrights should have the number of Acts as not less than five and not more than ten? ; and this should be furnished with the various Senti- ments and the States®,

58, After considering the need and action of the plot one should place between two Acts the Introductory Scenes which ave to compress the events in the Junctures (sandhi)!.

The Natika

59. Ina play of the Natika (Nati) class producers are to recognise a more or less well-known variety of these two (the Nataka and the Prakarana)!.

1 See 56 below.

55 (C.56; B.XVIII.52).

56 (C.57; BXVIIL53). 1 The nature of the necessity, and the language which the author of the NS. had in view in formulating this rule, has probablysbeen indicated in the following couplet. farafeandita भवेदेश्याहमागसः। Vita Wad Gat dad कुलनाधिश, Bh. Pp. 243

57 (C.58; BXVIIL29). 1 Read dasa para for dasaparii.

2 B. reads the second hemistich as weratafay च प्रवेशकासेपु तावन्तः,

58 (C.59; B.XXVILL56). ` Read this couplet as follows: ‘seIATre- विहितः प्रवेथकोऽदकरियां समभिवोच्य। दंपेपायं सनिषथानां संविषातन्यः, Cl DR.L118 (cd. Haas, pp. 34-35) and SD. 302. The Introductory Scene cannot be placed in the beginning of a play and it must be in Pkt.

59 (C.60a-61b; ऋणा). + Read milisahjaseite Rawye for nijakayoge prakarane. See Avalokaon DR. (ed, Nirnayasagar) [43 Description of the Natika given here (59-63) has been rightly suspected as an interpolation, though Keith is for rejecting this suspicion. Sce Skt. Dr. p 349,

“XX. 64] TEN KINDS OF PLAY 365

60. Different in origin from the [two types of plays] the Nataka and the Prakarana, its plot should be invented, the Hero should be a king and it should be based on [an incident relating to music or affairs of the harem‘.

61. And it contains an abundance of female characters, has four Acts, graceful gestures as its soul ; well-arranged constituents, many dances, songs and recitations, and love’s enjoyment are its chief features?.

62. The Natika should be known also to contain [a dis- play of] royal manners?, [fit of] anger?, its pacification, and [acts of] deceit (dambha), and to have the Hero’, his queen, the female Messenger and the attendants [as its dramatis personae].

63. "1116 characteristics of the Nataka and the Prakarana? have been briefly described by me. I shall now speak about the characteristics of the Samavakiva.

The Samavakara

64-65. It? should have the [exploits of] gods as its subject

matter (17/८4) and an Asura as a well-known and exalted character

60 (C.60b-61a; B.XVIIL.58). +! Keith seems to be in error about the nature of the subject matter (plot) of the Prak. See Skt. Dr. p. 349. Justi- fication for calling the Pratijiit. a Natiki may be found in the fact that its plot is based on musical lessons given by Udayana to Vasavadatta and ithas four Acts. But according to its Prologue it is a Prakarana, Sec Pusalker, Bhisa, pp. 271-272.

61 (C.62; BX VILL59). ’ But for this feature of having four Acts only, the Milavi. may be considered a Natika. See Keith. Skt. Dr. p. 350. Ratna. is a well-known example of the four Act Natika.

62 (C.63; B.XXVIL1.60). =" C. kamopacira for rajopactra.

2B. krodhadamihisamyukta for krodhasamyula capt.

9 ©, reads 62b as नायकटृतो चापि रगीसम्बखा नाधिका Sar. :

63 (C.65; BX VILI.62). ' B.C, read one additional couplet (C.64; B.XVIIL61) on the basis of two mss. It does not give any new information,

2 @, Prakarananitaka-nali-laksanam uktam for °nateka-laksana- nam uktam vtpra., Yvidently the interpolator who is responsible for the deserjption of the Nati (Natiki) inserted wa{i in the reading of त, See above 59 note, : ध

64-65 (C.66-67; B.XVIII.63-64). 1 No old specimen of this type

366 THE NATYASASTRA [ XX. 66-

as its Hero, and it is to consist of three Acts [presenting] the three ` kinds of deception, the three kinds of excitements or the three kinds of love?. [Besides this] it should have as many as twelve dvamatis personae and a duration (lit. length) of eighteen Nadikas®. I shall now speak about the rule regarding the number of Nadikas to be alloted to the different Acts.

66. A Nadika! should be known as the half of the Muhirta? which is a [well-known] measure of tine, The Acts ina Samava- kira should be measured according to the directions given in terms of this Nadika.

The first act of the Samavakira

67. The first Act [of the Samayakara] should have a dura- tion of twelve Nadikis? and it is to contain laughter, excitement, deception or a Vithi.

The second and the third acts of the Samavakira

68. The second Act also should be similar [execpt that] it is to have a duration of four Nadikis®. And the third Act. which will bring the plot to a close will have a duration of two Nadikas? only.

of drama is available. Samudramanthana by Vatsaraja (12th ecntury) is a very late work, See Keith, Skt. Dr. p. 267. Bhiisa’s 9768, is not a Samay. Cf. Mankad, Types of Skt. Dr. p. 58; Pusalker, Bhasa, pp. 292-210.

? [४ docs not seem likely that any one play of this type will include all three objects (deception, excitement and love) in their three varicties.

9 Ag the topics (and hence the Acts) in the Samavakira are to be loosely related (see 69 below) ; this limitation has been placed on the time lest it should be made too long.

66 (C.72a, 68b, BXVIIL67). =" 64८24 minutes. Sce below 67 note.

> muhurta=a period of 48 minutes. Sce below 66 note 1. Curiously enough Siradatanaya thinks that द्वृ is one fourth of a muhuria, See BhP. p. 249.

67 (C.70; BAXVIL65), 312 nadskis (74) = 4 hours and 48 minutes.

68 (C.71; BXXVILL66). + 4 xadtkas=1 hour 36 minutes.

2 2 nadtkis=48 minutes.

-XX. 73] TEN KINDS OF PLAY 367

69. ग composing the Samvakara different Acts should be made to have different topics, And topics in the Samayakara are to be loosely related to one another?.

The three kinds of Excitement

70. Excitement (lava) is known to be of three kinds such as being due to battle and flood (lit. water), storm (lit. wind) and fire, or big elephant? at large, and siege to a city.

Three kinds of Deception

71, Deception (तद) is kuown to be of three kinds such as being due to a devised plan,? accident or [the stratagem of] the enemy, It creates joy or sorrow [to persons |.

Three kinds of Love

72. In this connexion (lit here) three kinds of love to be presented through different actions are: that in relation to duty (dharma), that actuated by material gain (artha) and that actuated by passion (kama}t.

Love together with duty

73. When in[discharging] the duty one attains one’s [त] desired well-being? accomplished in many ways and in this connexion means like observing vows®, austerities and penance are adopted, it is to be known as love in relation to duty (dharma-tyngara).

69 (C.72b, 73; B.XVIII.69). ` Before this B. reads one additional couplet (B.69) which does not give any important information and has the support of two mss. only. In ८, this oceurs after C. 68,

2 From this it appears that Samay. was not a play of the regular type and belonged to a very carly stage of evolution of Indian drama.

70 (C.74; -B.XVIII.70). 1 ©, Jalendra-sambhavo for gajendra- sambhrama,

71 (C.75; BX णाना). 1" ©, vaste gatikrama, for vastugatakrama,

72 (0.76; B.XVIU.72), 'C. reads 72b as fafaurafarerd S27 ware. कामङ्गतः, %

73 (0.77; BXXVIIL73). ' ए, reads 73a as यिन्‌ saarvaaratfed भवति साधने बहधा,

9 (1, pratt for vrata,

368 THE NATYASASTRA [ XX. 74-

Love together with material gain

74. Love in which attainment of material gain occurs in various ways? is called Love in relation to material gain («rtha- वकद) or it may be that love in which the enjoyment of pleasure with women is for the purpose of some material gain.

Love due to passion

75. Love actuated by passion (hama-Sngara) includes the seduction of a maiden and it causes, and also secret or excited intercourse’ of a man with a woman.

Metres not allowed in the Samavakira 76. Hn the Samavakara the playwright should make proper use metres other than Usnik and Gayatri ete, which are of complex construction?. ।

77. In this manner an expert should compose a Samavakiva which will be the source of various Sentiments™. I shall hereafter speak about the characteristics of the Ihamrga.

The Thamrga

78. It (Thamrga) has as its (10000416 persouce divine males who are implicated in fights about divine females. Tt should be constructed with a well-arranged plot and should be convincing?.

74 (C.78; B.XVIIL74). 1 Read 74a as भयेति Sfaaaer भवति dise- age: (ms. cha B.).

75 (C.79; B.XVIIL75), | Read 76a ag aanfadtud ३ प्राप्य Rea waa निभतं सावेगे वा fsa काम ET, (mss, ya, na. pha, bhi in B.).

76 (C.80; BXVIIL76). ? Read this couplet as follows :—sfwa गायत्रा न्यान्धानि। ania awafzaris तान्त्र समवकारे afafe: सम्यक्‌ प्रयोज्यानि, The reading accepted by Ag. scems to be corrupt. For Usnnik and Gayatri type of metres cannot by any means be considered as being of complex con- struction (bandhakutila). Our emendation has the support of mss. cha. in B, Udbhata (the noted commentator of the NS.) too thinks that the rule prescribes complex metres such as Sragdhara for the Samay. Sce Ag.

2 Lengthy, sami-even and uneven types of metres.

77 (C.81; BXVIIL77). | C. sukhaduhkhasamigrayah tov niinirasa- samibrayah,

78 (C.82; BXVIIL78). 'C. Vipratyaya for vipratyaya, No old specimen of this type of drama is available. Rukminiharaya by Vatsaraja is an artificial production of a very late period (12th century).

XX. 85 ] "TEN RINDS OF PLAY 969

79. It 18 to abound in vehement (uddhata) Heroes and to have its construction dependent on feminine anger which is to give rise to commotion (samksobha), excitement (vidrava) and angry conflict (sampheta),

80. The Ihdmrga should be a play with well-ordered cons- truction in which the plot of love is to be based on causing discord among females, carrying them off and oppressing [the enemies].

81. All that are to be made [available] in the Vyayoga—its male characters, Styles and Sentiments—should be brought in the Thamrga also, except that the latter is to include (lit. have connexion with) the goddesses (lit. divine females) only! as its female characters.

82. [In the [hamrga] when persons intent on killing? is on the point of killing, [the impending] battle should be avoided by some artifice,

88. 0 Brahmins, the characteristics of the Ihamrga have been briefly mentioned by me. I shall speak hercafter on the characteristies of the Dima.

The Dima

$1. The Dima should be constructed with a well-known plot, and its Hero should be wellknown and of the exalted (w/aita) type. Itis to contain the six Sentiments and to consist of four Acts only?.

85-86. It should contain all the Sentiments except the Erotic and the Comic, a plot (havyayoni) with exciting Sentiments and various States, and it is [also] to include incidents such as an

(8९० Keith, Skt. Dr. p. 266). Two other late specimens of this kind are Krgnamigra’s Vira-vijaya and Krsna Avadhiita’s Sarva-vinoda-nataka. (See Sten know, ID. p. 114).

79 (C.83; B.XVIIL.79). 80 (C.84a, 85a; B.X VIII.80).

81 (C.85b-86a; B.XVIII.81)- } Sce below 90-93.

82 (C.84b, 86b; B.XVIIL82). 'C. vadho'pyudasrayo for vadho’- pyudagro,

83 (C.87; B.XVII183), a 84 (C.88; B.XVIIL84). +} No old example of this type of drama is available. ए 85-86 (C.89-90; B.XVIII,85-86).

47

870 THE NATYASASTRA ( XX, 87-

। earthquake?, fall of meteors, an eclipse of the sun or the moon, hattle®, personal combat, challange, and angry conflict.

87-88. The Dima should abound in deceit and jugglary and should have the energetic activity of many persons, and dissention (bheda)* among themselves, and it is to include sixteen characters which may be gods, Nagas, Riksasas, Yaksas and Pigacas, and [besides this] the play is to be carefully made in the Grand and the Energetic Styles and is to have many States to support it?.

89. The Dima has been described by me in all its charac- teristics. I shall speak now about the characteristics of the Vyayoga.

The Vyayoga

90. The Vyayoga should be constructed by experts with one well-known Hero as its basis, and it should include a small number of female characters and [the events related in it] will be of one day’s duration only?.

91. Many males are to take part in it as inthe Samavakira, but it is not to have the latter’s length, for it is to haye only one Act (anka).

92-93, It should have a royal sage as its Hero and not a divine personage, and it should include battle, personal combat, challange and angry conflict. Thus the Vyayoga should be made with exciting Sentiments as its basis. [ shall now speak of the characteristics of the Utsrstikanka (कपप).

+ ©. reads 86a as निर्षातचद्धपू्ोपगग सोन्कावपातरयुकतः.

11111111

87-88 (.91-99); B. XVIIL.87-88). 1 B. daha-pustolthinayoga for bahupurusott hiina-bheda.

8 11/11 11111111 11111)

89 (८.93; B.XVIII.89).

90 (C.94; BXVIII90), ' Bhiisa’s Madhyama. is its solitary old speci- men, Praliladanadeva’s Partha-parakrama (12th cent.), Vatsaraja’s Kira- tarjuniya (12th cent.) and Vigvanitha’s Saugandhika-harana ete. are very late specimens of this type. See Keith Skt. Dr. p. 263. Pusalker, Bhasa. p. 208. Ditava. Dittagha. एल, and Uru. cannot be ealled Vyayogas. Cf. Pusalker, Bhasa, pp. 186, 187, 190, 209. Mankad, Types of Skt. Dr, ए. 59-61. :

91 (6.95; B.XVIIT.91). 92-98 (C,96-97; B. XVIII.92-93).

XX. 99] TEN KINDS OF PLAY 871

The Uterstikdika 94. The Plot in it is [usually to be] well-known, but it may sometimes be otherwise, and it is to be furnished with male characters other than those who are divine!.

95-96. The Utsrstikanka should abound in the Pathetic Sentiment ; it will treat women’s lamentations and despondent utter- ances at a time when battle and violent fighting has ceased ; it should include bewildered movements [of mourners] and it must. be devoid of the Grand, the Energetic and the Graceful Styles and its Plot should relate to one’s fall (lit. end of the rise)+,

Scenes with celestial Heroes

97. [Scenes of] all the plays which have celestial Heroes, and which [treat] a battle, capture and killing [of enemies], should be laid in Bharata-varsa?.

98. OF all the Varsas (sub-continents) prescribed for the gods why? is Bharata-varsa chosen [in this connexion]? Because the entire land here is charming, sweet-smelling and of golden colour.

99-100. [But scenes of their] garden party (lit. going to a garden), sport, pastime and enjoying the company of females, are always to be laid in the other Vargas ; for there is neither any sorrow nor any grief there. Their enjoyments should take place in the mountains which are connected with those Vargas in the Purinic accounts, but their [other] deeds should begin here (i. e, in Bharata-varsa).

94 (८.91; 7, XVIIL94). 1 Bhisa’s Uru. is a solitary example this type of drama. Sce Pusalker, Bhasa, pp. 199, 200. Keith seems to be in error when he says that a play within’a play is often called an Anka. See Skt. Dr. ए. 268.

95-96 (C.99-100 ; B. XVIIL95-96). 140. kartruyo abhyudayintas tajnaih for karyah kavyavidhijnath

97 (C.101; BXXVIIL97). " This and three following couplets (97- 100) seem to be more relevant after Ns. XIV. 26 which treats similar topics.

98 (C.102; B.XVIIL.98). ` ©. tasmat for Rasmat,

99-100 (C.108-104; B.X VIII.90-100).

872 THE NATYASASTRA ( XX. 101.

101, The characteristics of an Utsystikénka (Aika) have been exaustively explained by me. I shall now speak of the Prahasana with its characteristics.

The Prahasana

10४ The Prahasana should be known to be of two kinds :

pure and mixed. I shall separately treat their characteristies*. The pure Prahasana

103-104, The Prahasana is known as pure (वदत) when it contains comic disputations by Saiva gurus (णप) and Brahmins, abounds in jocular remarks by persons of ill repute, and gives oniformly to the Plot a realistic picture of the language and the conduct of all these in passages describing their special States.*

The mixed Prahasana

105. That Prahasana is called mixed? in which courtezans, servants, eunuchs, parasites (vita) rogues and unchaste women appear with their immodest appearance, dress and movements.

~

101 (C.105; B.XVIII.101).

102 (C.106; BXVIII.102). 1 Satkhadhara’s Lataka-mela (12th ecntury), Jyotirisvara’s Dhiirta-samagama (15th century) and Jagadi- évara’s Hasyarnava (date uncertain), ete. are very late works (Sec Keith Skt. Dr. pp. 261-262). The Matta-vilasa of Mahendra-vikrama+varman (620 A.C.) and the Bhagavad-ajjukiya aseribed to Baudhayana Kavi, are fairly old specimens of the Prahasana, Sce Keith Skt. Dr. pp. 182. Bhagavad-ajjukiya ed. P. Anujan Achan, Cochin, 1925.

103-104 (C.107-108; B.XVIII1038-104), The word dhagavat relates primarily to a Saiva saint. It is in this sense that the word has beert used in the Prahasana named Bhagavad-ajjukiya and this speaks for the antiquity of this work (Sce above 102 note). A Saiva saint appears in the Matta-vilisa, the Dhiirta-nartaka and the Hasya-ctidamani. Both these Prahasanas one are however late. Sce Keith, Skt. Dr. pp. 182, 262,265. Tor some aspeets of the Saiva tenets sce Karpiiramaijari, od M. Ghosh, pp, LXTII-LXIV. -

५ (1 reads 108a asd मगवत्तापरमिचुशोषियविप्रातिद्ासप्यक्म्‌,

3 Prahasanas named in note 1 above may be taken as specimens of the pure variety.

105 (C.109; BXVIU105). 1 Prahasanas like the Dhtirta-samagama and the Hasy4rnava may be taken as specimens of the mixed varicty. See Keith, Skt. Dr. pp. 260-262.

-XX, 112 ] TEN KINDS OF PLAY 378

106-107. Some popular topic [of scandal] or incident of hypocrisy should be introduced in the Prahasana through the dis- putations of pretenders, The Prahasana should include [any of] the types of the Vithi it may properly require’.

The Bhana

107-108. I shall now speak of the characteristics of the Bhana. The Bhana is to be acted by a single character, and it is of two! kinds: that [with one’s] recounting of one’s own experience and that [with one’s} describing someone else’s acts?.

109, [The Bhina which is to include] somebody 0505 words addressed to oneself, should be acted by means of replies in course of Conversations with Imaginary Persons (@hasa-bhasila) in accompaniment of [suitable] movement of the limbs.

110, The Bhana should include characters of rogues and parasites (vid) and treat their different conditions, and it is always to consist of one Act and should include many movements which are to be acted by a rogue (dhirta) or a parasite.

111. All the characteristics of the Bhina have been des- cribed by me according to the tradition (@gama). I shall [now] speak of the characteristics of the Vithi in due order.

The Vitht

112-113. The Vithi is to be acted by two persons or one,

And it is to include characters of the superior, the middling or the

106-107 (C.110-llla; B.XVIIL106-1072). "©, reads 107a as उद्षाल्यकादिभिरिदं dag fafad wafer, > 80९ below 112-129.

107-108 (C.111b-112; BXVILL. 107b-108). ` Emend vzvidha into duwvidha (ms. cha in B.).

? ‘The four Bhanas (Ubhaydbhisirika, Padma-prabhrtaka, Dhiirta- vita-samvada and Pada-taditaka) published under the title Caturbhini Placed by F. W. Thomas between the 6th and the 7th century are the oldest available specimens of this type (0. फ, Thomas, J-R AS, 1992, pp. 262ff. क. फ. Thomas, Centenary Supplement J R A S. 1924 pp..129-186; 8.K.De, in J ^+ S. 1926, pp. 63-90, Hist of Skt. Lit. pp. 241ff For later Bhanas see Keith, Skt Dr. pp. 263-264. 109 (C.113; BX VIEI.109).

110 (C.114; B.XVIIL-110). ˆ 111 (0.115; BXXVUT111).

112-118 (C,116-117; B.XVIIL112b-1 18a, 1129 and its f. ०, 2),

874 THE NATYASASTRA [ XX. 114

inferior type, and it may contain [any of] the Sentiments, and it may include [any of] the thirteen types. I shall now speak of the characteristics of all these. Thirteen types of the Vithi

114-115. The thirteen types 1 of the Vithi are : Accidental Interpretation (wighatyake), Transference (avalagita), Ominous Significance (wraspandita), Incoherent Chatter (wsatpralapa), Com- pliment (prapenea), Enigma (wali=ualika) Repartee (rakkeli), Outvying («dhicala), Deception (chala), Declaration (eyahara), Crushing (ware), Three Men’s Tall (triyata’, and Undue Combi- nation of Words (yanda)

116. [Any of theso] thirteen types is always to be attached to the Vithi. I shall now speak of their characteristics in due order. Accidental Interpretation

117. If, in order to’explain them men connect words of obscure meaning with words other than {those intended by the speaker] it becomes Accidental Interpretation (udyhatyaka),

Transference

118. When [anything] occurring in [relation to] something, will be made to accomplish something else, it becomes [an instance of | Transference (avaluyitv)?

Ominous significance

119. That one attaches (lit. creates) out of misunderstanding an auspicious or inauspicious meaning (lit. auspicious or inauspici- ous rise) to the words (lit. meaning) mentioned, is [an instance of] Ominous Significance (avaspandita)*, :

114-115 (C.118-119, Cf. B.XVIIL113b-114). ` Anga in this con- nexion has been translated as ‘division’ (Haas, DR. p. 84). But ‘types’ seems to be a more suitable word. 116 (0.120; BXVIIL115a).

117 (C.121, B XVIII 115b-116a). 1 Haas translates the word as ‘Abrupt Dialogue’ (DR. p.8!). For an example see SD. 228; ef. Ag. DR. (III. 13-14) seems to define it differently.

118. (C.182; BXVUL116b-117a). 1 Haas translates it as ‘Conti- nuance’ (See p. 85). For an ex. See SD. 292 ; Ag. Cf. DRI. 14b-15a,

_ 119 (0.123; B.XVIIL817b-118a). ` The spelling avasyandita though accepted by SD. and DR. scams to bo wrong (See Ag.). Haas

“XX, 126 J TEN KINDS OF PLAY: 375

Incoherent Chatter

120. When an irrelevant question (lit. sentence) is followed by (an equally] irrelevant answer, it is [an instance of] Incoherent Chatter (asat-pralapa)*.

121. When to a foolish person a learned man speaks the right words, but his words are not listened to, it is [an instance of] Incoherent Chatter’.

Compliment

122, When comic and untrue words purporting to be mu- tual praise of two persons, are uttered in the interest of one [of them] it is [an instance of] Compliment (prapaitca)!.

Enigma and Repartee

123, An enigmatical remark that gives rise to laughter (lit. followed by laughter) is called an Enigma (तक). Repartee rakkeli = vakkelika) arises from a single or twofold reply.”

Outvying

124. When somebody clse’s words and those of one’s own- self, in course of a dialogue, lead to their mutual modification, it is {an instance of] Outvying (adhivala)*,

Deception 125. When after alluring one by replies, something oppo- site is done (lit. takes place) through those very replies being con- sidered meaningless, it is fan instance of] Deceptlon (rhala)?, translates the word ag ‘Re-interpretation’ (pp. 84, 87) probably under the influence of the SD. (528), DR. (IT. 19a) has a different deflnition. For an example see Ag.

120 (C.124). 1 We accept the reading of mss. वद and da in B. (under 119) which has the support of DR. III. 20 and SD. 530. Ag. differs and acecpts the reading of 121 below. Seo Haas, p. 87.

121 (C.125; B-XVIII119). 1 ६८८ 120 note and Ag.

122 (C.126; B.XVIIIL123b-121a) ' See Haas, p. 85; SD, 522, DR III. 15b.

123 (C.127; BX VIII.118a, 1202). 1 Sco Haas, pp. 87 ; SD. 529.

2 8९९ Haas, p.86, SD. 525.

194 (C,128; BXXVIII-122b-123a). ` See Haas, p. 86; SD. 526.

125 (C.129; B.XVII. 1259) ` See DR. 17a; Haas, p. 96 ; SD. gives two def. of this including the present one; 8९6 524-525,

376 THE NATYASASTRA [ XX, 106.

Declaration

126. If anything [liable to occur] is described vividly in the presence of the Hero and is similarly made to happen [there] with- out any fear, it is [an instance of} Declaration (vyahara)*

Crushing

127. That due to an altercation one represents [another’s] merits as demerits by [showing] cause [for it] and vice versa, is called Crushing (mpdava)?,

Three Men’s Talk

128. When exalted words with the Comic Sentiment are shared by three [characters] it should be known as Three Men’s Talk (triqata)*.

Undue Combination of Words

129. Undue combination of words (yang) according to the wise, occurs due to excitement, confusion, quarrel, reviling and many people’s abusive words.

130-131 If in a play any of these thirteen types? with clear meanings, occur and they possess all the characters Sentiments and States prescribed for them by the Sastra it is called the Vithi Tt may he acted by one or two persons

196 (C.130; B.XVUI. foot notes to 1288), ' Bs reading secms to agree with the def. given in DR. TIL. 20b and SD. 931. पड translates the t2rm as ‘Humourous Speech’. See p. 88.

127 (C.131; BXVIL121b-122a). 1 DR. WT. 21a; SD, 532, Haas translates the term as ‘Mildness’ ; see p. 88.

128 (C.132; B.XVIII. foot note to 124). 1 DR TI. 16 and SD. 528 define this differently and they agree with the reading of B, Our reading is supported by the ga ms, in B, Hans translates the term as ‘Triple Explanation’. See p. 84,

129 (C.188; BXXVIIL125b-126a). ' ©, sarambha for samrambha

9 ©. bandhavividam for vivadayuktam.

१ DR, IIL. 180 and SD. 527 scem to def, it differently, Haas translates the term as ‘Abrupt Remark’ 866 p. 87.

130-181 (C.134-185), 1 Ag, reads Lasydigas in the next chapter (his XIX). It is possible that these were introdueed later in the NS, For the ms. bha of ए, and some commentators using it ignore them altogether Saradatanaya and others reads /asyiigas differently. Sco Kayi’s Intr. to B, pp. XI-XII. foot note.

“XX, 186 ] TEN KINDS OF PLAY 377

The Lasya 132. [Similar] other limbs are attached to the Nitaka in connexion with the performance of the Lasya, and they owe their origin to this (i, e. Nataka), and are to be acted like the Bhana by a single person. ` 133, The Lasya has a form similar that of the Bhana and itis to be acted by one person?. Its theme is to be inferred like that of the Prakarana and should relate to [loving] intimacy [with any one], . Tho twelve types of the Lasya 131-135. The [twelve] types of the Lasya are: Geyapada Sthitapathya, Asina, Puspagandika, Pracchedaka, Trimidha, Sain- dhava, Dvyimiidhaka, Uttamottamaka, Vicitrapada, Ukta-pratyukta and Bhiivita (Bhéva)?. Geyapada 136. When [the Heroine] is seated? on her seat surroun: . ded with stringed instruments and drums near her, and singers are singing [before her] without any accompaniment of these, it is

132 (C.186 K.X VII. 169). } Zasyanga is an on? act play which requires Zasya or a gentle form of dance for its representation; for this term may be interpreted as Jésyam angam yasyah sah (that which has /asya as its principal clement), The ten (75020646 scem to be only so many varieties of the Lasya, These are not its ‘elements’ as some scholars are apt to consider,

2 The word vithyanga also may be similarly interpreted. VitAi seems to be nothing but a particular kind of one act play (defined in 112 boave) and vithyanga may therefore be translated as ‘a play of the Vithi type’.

133 (C137 ; K, XVI 188). ' Sce above 132 note ; Zasya used in this passage means merely /isyanga.

184-135 (८.138.139 ; K. रणा. 17)-171). ` ओ), (504) gives only’ ten and BhP. (p. 245-246) eleven /asytiigas, but DR. (IIT. 52-53) gives their number as ten but docs not define them.

136 (C.14) ; ए. XVIII. 172). ' See SD. 505, The seating posture included in this and some of the other varieties of th> /asya need ngt appear to be puzzling, For the Gentle Dance in this connexion did not imply the movement of the entire body. See Gilbert Murray, Euripides and His Age, London, 1946, p. 150. ।

48

878 THE NATYASASTRA { XX. 187+

137, If a woman sings in a standing? posture a song dealing with the praise of her heloved and delineates the same with the gestures of her different limbs, it is called the Geyapada,

Sthitapathya

138. If a separated woman burning with the fire of love recites anything in Prakrit while seated on her seat?, it is [an instance of] the Sthita-pithya.

Asina

139. When one sits’ without making any toilet? and is overcome with anxiety and sorrow, and looks with oblique glances it is [an instanee of} the Asina.

Puspagandika

140. When a woman in the guise of a man recites some- thing sweetly in Sanskrit for the pleasure of her female friends, it is [an instance of] the Puspagandikii?

Pracchedaka

141. When a[separated] woman pained by the moonelight prepares to go to her beloved even if he has done her wrong, it is [an instance of] the Pracchedakat.

Trimitdhaka

-142. 4 play adorned with even metres and abounding in manly States and composed of words which are neither harsh nor large, is called the Trimiidhaka

Saindhavaka

143. When [one represents] a lover who has failed to keep his tryst and is using Prakrit (fo express his grief] through well- performed Karanag, it is [an instance of] the Saindhavaka

187 (C.141). ' See above 136 note 1

138 (C.142 ; £. XVITL 178 f.n.). 1 See SY. 506 ; also note 1 above of 136. Cf. K. XVIII. 173, BaP. p. 245, 1. 17-18

139 (C.148 ; K. XVII. 174). ' SD. 507 ; see above 136 note 1, The Gentle Dance (/ésya) in this connexion will consist of slowly moving glanees only. Cf. BhP. p. 245, 1.19-20. 2 Read aprasidhita gitra.

140 (C144). + & SD. 507; sce above 136 note 1. Cf. K. XVII. 175, 817. p. 245, 1. 21-22,

141 (0.145 ; 1, XVI. 176). + The def. given in SD. (507) is different. SD. reads the term as Trigtdhaka. Cf, BhP. p. 246 |. 1-2.

142 (C. 146 ; ए, इ णा. 177). ` See BhP. p. 246, 1. 3-4.

" 143 (C.147). 4+ &. 8). 508. Cf, K. XVIII. 178, BhP. p. 246. 15-6.

-XX. 1601 † TEN KINDS OF PLAY 879

Dvimtidhaka

144. Delineating a song of the Caturasra type which has an auspicious meaning and which treats (lit. has) clear States and Sentiments, with the pretension of efforts, is called the Dvimtidhaka.

Uttamottamaka

145. The Uttamottamaka is composed in various kinds of Slokas ; it includes various Sentiments and is adorned with the condition of Passion (hela).

Vicitrapada

146. If any woman burning with the fire of love soothes her mind by seeing the portrait [of her lover] it is [an instance of] the Vicitrapada.

Ukta-pratyukta

147. ‘The Ukta-pratyukta is a combination of speeches and counter-apeeches due to anger or pleasure, and it [sometimes] contains words of censure, Tt is to be set to music.

= Bhavita

118, Hea woman who is burning with the fire of love after seeing her beloved in a dream, expresses [her] different States, it is [an instance of] the Bhavita,

119. These are the characteristics of the [different] types of Lasya growing out of anger or pleasure, that Thad to tell you in detail. Tf anything more has not been said, it has been due to the fact that nothing more is required in this context.

150. ‘The rules regarding the ten kinds of play with their characteristics, have been stated by me. I shall now speak about their bodies and the Junctures with their characteristics.

Here ends chapter XX of Bharata’s Natyadatra, which treats of the ‘Ten Kinds of Play.

144 (0.148). Cf. SD. (509) which reads the term as Dvigtdha, Cf. K. XVII. 179, BhP. p. 246, 1. 7-8.

145 (C.149 ; ए. XVIII. 180). + Cf. SD. (509). Cf. BhP. p, 246, 1. 9-10".

146 (C.150 ; K. p. 207. fu. 12). | SD. and BhP. omit this.

147 (C.I5L ¦ K. XVI 181). + See BhP. p. 246. 1. 11-12. Cf. SD. 509.

148 (C,152 ; 1, p. 207. fn. 12.). ' SD. omits this. See BhP. p. 246. 1, 18-14, 149 (153 ; K, 183). + 1४0 (C.154 ; K. 184).

CHAPTER TWENTYONE THE LIMBS OF THE JUNCTURES

The five Junetures of the Plot

1. The Plot (itivrtéa) has been called the body of the drama

(lit. poem). It is known to be divided into five Junctures (उत्प). The two kinds of Plot

2. The Plot is of two kinds: Principal (@/hikarika) and Subsidiary (prasanyiha),

Their definition

8. The [assemblage of] acts which are fabricated with a view to (lit, by reason of) the attainment of [some particular] result, is to be known as the Principal Plot. [Acts] other than these consti- tute the Subsidiary Plot.

4-5. The attainment of the result and its exaltation which the ingenuity of the playwright (lit. poct) plans hy mé&ins of the associated characters (lit. Heroes) acting in a regular manner (lit. resorting to rules), constitute the Principal Plot on account of an attainment of the result. And any incident (lit. anything) men- tioned for helping any other [incident] in it, is called the Subsi- diary Plot.

The five stages of the Action

6. The exertion of the Hero (lit. one who strives) towards the result to be attained, is known to have five stages occurring in due order. '

1 (C.1; ए, XIX. 1). 4 Also called ८४४. Ct, DR. I. 11, SD. 294-295.

* See DR. 1. 22-23, SD. 380 and NL, 458 read obhigah sampra- kalpitah for vibhagah ete. Sce NL. 216-217,

2 (0.2 ; K. XIX. 2). ¬ ६५९ DR. I. 11, SD. 295 and NL. 218 219.

3 (6.3 ; K. XIX. 3). + &६ DRI. 12-13, SD. 296-297; NL. 223-224.

9 Sce above note 1.

4-5 (C.4-5 ; K. XIX. 4-5). + Sce above 3 note 1 and NL, 228-229,

2 See above note 1.

` 6(C.7). +" ©, reads one additional couplet (C. 6) before this. Cf.

NIL, 55-56.

-XXI. 14] THE LIMBS OF THE JUNCTURES 381

7. These five stages of the Action are known to arise in the Nataka and the Prakarana. [Their] Fruition (phala-yoga) relates to duty (dharma), enjoyment of pleasure (tama) and wealth (artha).*

8. They are: Beginning (prarambha), Effurt (vrayatna), Possibility of Attainment (prapti-sambhuva), Certainty of Attain- ment (niyrt@ phala-prapti) and Attainment of the Result (phala-prapti).

Beginning

9. That part of the play (lit. composition) which merely records eagerness about the final attainment of the result with reference to the Germ (Hija), is called the Beginning (@rambha),

Effort

10. [Heroe’s] striving towards an attainment of the Result when the same is not in view, and showing further eagerness [about it], is ealled the Efforts (prayctna),

Possibility of Attainment

11. When the attainment of the object is slightly suggested by an idea, it is to be known as the Possibility of Attainment (prapti-sambha ca),

Certainty of Attainment

12. When one visualises in idea a sure attainment of the

result, it is called Certainty of Attainment (mtyata phala-prapti). Attainment of the Result

13. When the intended result appears in full at the end of events [of a play] and corresponds to them, it is called Attainment of the Result (phala-yoy).

14. These are the five successive stages of every action begun by persons looking for results.

7 (C.8) 1 K, omits this.

8(C.10 ; K. XIX.7). 1 Cf. DR. I. 19; SD. 324; NL, 57-58,

9 (€.11 ; K. XIX. 8). * Cf, DR. 20; SD. 325; NT. 59-60.

10 (C12 ; K. XIX. 9), +C£ DR. I. 20; SD. 326; NL. 66.

11 (6.1; ; K. XIX. 10). 4 Cf. DR. I. 21; SD. 327; NL. 69-70. 19 (0.14 ; K. XIX. 11). + & DR I. 21; SD. 328; NL. 77.

18 (C.14; ए. XIX. 12). + Cf. DR. 1. 22; SD, 329; NL. 89. 14 (८.15 ; K. XIX. 13). .

382 THE NATYASASTRA [ XXI. 15-

15. Putting together all these naturally different stages which come together [in a play] for the production of the result conduces towards the fruition,

Play to begin with the Principal Plot

16. The Principal Plot which has been described before should be taken up at the Beginning [of a play], for it is to attain fruition.

17. The Plot should either have all the Junctures (sandhi) or lack some of them. The [general] rule requires that all the Junctures should occur in it, but due to a [special] reason some of them may be left out (lit absent).

Rules about the omission of Junctures

18, If one Juncture is to be omitted then the fourth one goes ; in case of an omission of the two Junctures, the third and the fourth are to be left out, and in ease of the three to be omitted, the second, the third and the fourth should be given up.

19. In case of the Subsidiary Plot this rule will not apply 3 for it is to serve the purpose of another [Plot]. Any event can be introduced in this (Subsidiary Plot] without violating the rule.

The five Elements of the Plot

20. The five stages of the plot such as the Beginning (Grambha)* etc. have five corresponding Elements of the Plot (artha-prakti)?,

21. The Germ (hija), the Prominent Point (bindn), the Episode (pataka), the Episodical Incident (prakari) and the Dénouement (karya) ure the five Elements of the Plot (rtha- prakyti), which should be reckoned and applied in proper manner,

15 (C. 16 ; K. XIX. 14)

16 (C17 ; K. XIX. 15).

17 (C.18 ; K. XIX. 16). + Emend yat-karyam into tat karyam, See NL. 449 18 (C.19 ; K. XIX. 17).

19 (C.20 ; K. X1X. 18).

20 (C.21 ; ८, XIX.19) +! See DR. 1. 19 : SD. 324 NL. 57-58,

* See DR. I. 18 ; SD. 317; NL, 134-135.

21 (C.a2 ; K, XIX. 20). | See above 20 note 2.

-XXI. 27] . THE LIMBS OF THE JUNCTURES 383

The Germ

22. That which scattered in a small measure, expands itself in various ways and ends in fruition, is called the Germ (hija) of the Plot.

The Prominent Point

23. That which sustains the continuity (lit. non-separation) till the end of the play even when the chief object (of the play] is [for the time being] suspended, is called the Prominent Point (hind).

The Episode

24. Theevent which is introduced in the interest of the

Principal [Plot] and is treated like it, is called an Episode (pataka). The Episodical Incident

25. When merely the result of such an event is presented for the purpose of another (4. ¢. the Principal Plot) and it has 70 Secondary Juneture (aihantha)' it नि called the Episodical Incident (prahari)?.

The Dénouement

26. The efforts made for the purpose of the Principal Plot introduced [in play] by the experts, is called the Dénouement (Farya),

27. Among these [Elements] that which has others ‘for its support (lit. purpose) and to which the rest are taken as subordinate, should be made prominent (lit. chief) and not the remaining ones,

22 (C.23 ; K. XIX.21). ' Cf. DR. I. 17; SD. 318; NL. 136-137.

23 (C.24; N.XIX. 22). + cf. DR. I. 17; SD. 319; NL. giving a second view about the meaning of the dizdu says:— 34 तु, यद्वि नाट ्ाषेख प्रक्ततिभूतमवमानोत्‌- साह्यं wae परिकौ्यते स fag: 1 यथा creamed केकय्याः प्रयङुमुतृको्वनम्‌ । Fat च ala दरौपदौकेगा र्षम्‌ । उतृस्ाहे च नागःनन्दे जोमून बहन sais कौ्तेनभिति। स च कायै समाति araq प्रमैतधितश्यः (150. 173). गलाद is a third view also ; see NL. 188

24 (C.25 ; K. XIX. 23). +Cf. DR. I. 13; SD. 320; NL. gives also a second view about the meaning of the pataki as follows: Wi पत.कषयुमनायकचरितमैव स्ला्मुपरय॑बन्ति (195.)

25 (C.26 ; K. XIX. 24). + As opposed to this, the कदं possesses continuity. Anubandho natrantaryena pravartanam (NI, 204).

2 Cf. DR. 1.13; SD. 321 NL. 199ff. ,

26 (C.27 ; K. XIX, 25). + Cf. DR. I. 16; SD. 323; NL. 209ff, Read yastu (ortta, K.) as vastu, C. NU. reads karvam for vastu.

97 (0.28 ; K. XIX. 26). ` Cf NL. 28.

384 THE NATYASASTRA ; [ शा, 28-

Secondary Juncture in the Episode 28. One or more Junctures should be applied in an Episode (pataka). “As these serve the purpose of the Principal [Plot] they called Secondary Junctures (awubandha), Limit of the Episode 29 The Episode should come to an end either at the Develoment (yarbha) or at the Pause (vimarsa). Why? Because its treatment is for the purpose of something else (i. ९. the Prin- cipal Plot). The Episode Indication 30. When some matter being taken in hand (lit. already thought about), another matter of similar natare (lit. characteris- tics) is suggested through an accidental idea (@gautula-bhara), it is called Episode Indication (pataba-sthane).

The First Episode Indication 31, The sudden development of a novel meaning («rthasam- patti) due to an indirect suggestion, is called the First Episode Indication Tbe Second Episode Indication 32. Words completely carrying double meaning and ex- pressed in a poctic language, are called the Second Kpisode Indi- cation, The Third Episode Indication 33. That which suggests with courtesy the object [ofa play] in asubtle manner and in the form of a dialogue, is called the Third Episode Indication,

28 (C.29 ; K. XIX. 27). 1 Some read anubandha as anusandhi ; ef. DR. III, 26-27,

29 (C.30 ; K. XIX. 28). + Emend ¢asmiad into kasmiit.

30 (८.31 ; K. XIX. 29), + DRL. 14) merely defines the term and ignores its varieties. But SD. (298-299) follows NS. and defines them. Sce NL. 1000-1001, Sagaranandin says that these should not be applied to the last Juncture (22404102).

31 (6.39 ; K. XIX. 30). + Emend gunavalyupa’ into guna-vitlyupa’

2 See SD. 300; NL. 1007.

32 (0.8 ; ए. XIX. 81). + Emend vacasidtsaya® into vacah sititaya’. See SD. 30} and NL. 1015.

` 98 (0.34 ; K. XIX. 32), + See शि), 302; NL. 1021-1022.

-XXI. 41 ] THE LIMBS OF HE JUNCTURES 385

The Fourth Episode Indication 34, Words with a double meaning expressed in a well-knit poetic language and having a reference to something [other than what appears at first sight] is called the Fourth Episode Indication.

35. The poetical composition meant to be acted should have the five Junctures (saudi) and four Episode Indications (pataha- sthanaka)*, [ shall next speak of the Junctures.

The five Junctures

36. The five Junctures in adrama are the Opening (mIha), the Progression (pratimukha), the Development (yarbha), the Pause (vinarsa) and the Conclusion (ntrvahana)?.

37. The Principal [Plot] is known to be consisting of the five Junctures (sandhi). The remaining Junctures are to be supported by the Junctures of the Principal [एन].

The Opening

38. That part of a play, in which the creation of the Germ (1/4) as the source of many objects and Sentiments takes place, is called in consideration of its-body the Opening (maha, lit. face)*

The Progression

39. Uncovering of the Germ placed at the Opening after it has sometimes been perceptible and sometimes been lost, is called the Progression (pratimukha).

The Development

40. The sprouting of the Germ, its attainment or non-

attainment and search for it, is called the Development (yarbha)}. The Pause

41. One’s pause (vimaréa, lit. deliberation) over the Germ

(bija) that has sprouted in the Development (yavbha) on account

34 (C.35; K.X1X.33). + See SD. 308; NL, 1033. 35 (0.86; K.XIX.34). 86 (C.37; K.XIX.35), +See DR. I. 23-24; SD. 381-332; NL. 458. 37 (C.88; K.XIX.36), + These relate to the Subsidiary Plot. ॥ 38 (0.89; K.XIX.87). ? Seo DR. I 24-25; 92.333; NL. 5867. quotes.Ns. 39 (('.40; 1८.13.38). ! Cf. DR. I. 30; SD. 334; NL. 684. 40 (C.41; K.XIX.39). ! Cf. DR. I. 36; SD. 335; NL. 7108. 41 (C.42; K.X1X.40). 49

386 THE NATYASASTRA [ XXI. 42

of some temptation, anger or distress, is called the Juncture of that name (i.e. Pause)!. The Conelusion

42. Bringing together the objects [of the Junctures] such as the Opening (mukha) etc. along with the Germ (bia), when they have attained fruition, is called the Conclusion (nirvahana)*

43. These are Junctures of the Nataka to be known by the producers of adrama. They may occur in the Prakarana and the other types of plays as well.

Junctures vary in different types of drama

44, The Dima? and the Samavakira? are to have four Junctures, and the playwright should never make the Pause (vimaréa) in them.

45. The Vyayoga? and the Thamrga? are to have three Junctures. There should be no Development and Pause (avamarga = vimarsa) in these two, and the Graceful (कय) Style also has no place in them

46. The Prahasana!, the Vithi?, the Anka? and the Bhana‘ are to have only two Junctures which should be the Orening (mukha) and the Conclusion (wtrvahunu), and their Style should be the Verbal one (bharati)

47. These are the Junctures to be adopted by the pro- ducers in the ten types of play, Listen now about different. kinds of Junctures which also will as it were mark their limits.

‘DR. I. 53 calls this avamar$a, $1). 336; NL. 770ff, gives two more definations of this Juncture, Read the second hemistich 98 क्रोधव्यसनजो वापि विम @ इति सृतः.

42 (0.43; K.XIX.41), } Emend the first hemistich as follows :— समानयनम्‌ Salat सुखादानां सगीक्ीनाम्‌. Cf. DR. I. 49-49; SD, 337; NL, 554 £.

48 (C.44; K.XIX, 42).

44 (C.45; K.XIX-44a, 43b). 1 See NS XX. 90M 2 8०0 bid 7AM.

45 (C.46; K.XIX.43a, 44b), 1 See NS. XX. 84 = 2 See 2. 64

46 (.47-48; K.XIX. 45). 1 Seo NS. XX. 109; = ° Seo sora Lath.

, * Bee 0 94. + Sco #72 107

47 (C.48; K.XIX. 46).

XXII. 65] THE LIMBS OF THR JUNCTURES 387

Subjuncture

48-50. The twentyone Sub-junctures are as follows! : Con- ciliation (sama), Dissention (bheda), Making Gifts (pradana), Chastisement (dandu), Killing (vadha), Presence of Mind (pratyut- pannamatitva), Blunder in Addressing (gotra-sihalita), Rashness (séhasa), Terror (bhaya), Intelligence (dhi), Deceit (maya), Anger (krodha), Strength (ojas), Concealment (samvaran), Error (bhranti), Ascertainment (avadharan)?, Messenger (data), Letter (lekha), Dream (svapna), Portrait (citra) and Intoxication (mada).

Alternative Junctures

६1 The events of the Junctures in their respective parts (pradesa)! will in due order support those Limbs (of the Junctures] by means of their own qualities.

The sixfold needs of the Limbs of the Junetures

52-53. Expressing? the desired object, non-omission of any essential item in the Plot, accession to feeling in production, concealment of the objects to be concealed, telling tales of surprise? and disclosing things to be disclosed are the sixfold needs of the Limbs described in the Sastra®.

Uses of the Limbs of the Junctures

54. Just asa man without all his limbs are unable to fight a battle, so a play without the Limbs will be unfit for [successful] production?.

55. A play (६. २ poem) though it may be poor as regards its theme (lit. meaning) will, when furnished with requisite Limbs, attain beauty because of the brilliance of its production.

48-50 (C.49-51; K.XIX.191b, 1030). ` NIL. 925ff. seems to give this passage more correetly with slight variation. The Sub-junctures (sandhi- nim sandht) are to be distinguished from the Secondary Junetures (anubandha=anusandht. DR. 111.26 mentioned in 28 before.

४ Read bhavah for vadhah.

51 (C.52; K.XIX.47). 1 PradeSa scoms to signify Sub-juncture (sandhinam sandht) discussed in 50 above. See NL. 923.

52-53 (C,53-54; K.XIX.48-49). =" Read vacanam for racana,

2 Emend ascaryavad abhikhyatam into ascaryavad abhikhyanam.

3 Cf. DR. I. 55; SD.407ff.

54 (C.55; K.X1X.49a, 609). } Cf SD. 407ff,

55 (C.56; K.XIX.50a, 51a).

338 THE NATYASASTRA [ XXI. 66.

56. And a play having lofty theme, but devoid of [requisite] Limbs, will never capture the mind of the good [critics] because of its [possible] poor production.

27. Hence in applying the Junctures [in a drama] the playwright should give them their Limbs properly. Now listen about about them [in detail].

The sixtyfour Limbs of the Junetures

58-59. The Limbs of the Opening (mukha) are; Sugges- tion (upukgepa), Enlargement (yarikara), Establishment (parinyasa), Allurement (vilobhana), Decision (yukti), Accession (prapti), Settl- ing (samadhana), Conflict of Feeling (vidhana), Surprise (paribha- vana), Disclosure (udbhede), Activity (harana), and Incitement (bheda), Now listen about the Limbs in the Progression’.

60-61. The Limbs of the Progression (pratimukha) are : Amorousness (vilasa), Pursuit (yavisaypa), Refusal (vidhita), Pessi- mism (tapana), Joke (nurma), Flash of Joke (narmadyuti), Moving Forward (pragamana), Paeification (paryupasana), Sweet Words (puspa), Thunderbolt (vajra)?.

62-64. The Limbs of the Development (garbha) are: Mis- statement (abhitaharana), Indication (marga), Supposition (7%), Exaggeration (uda@hurana), Progress (krame), Propitiation (sam- graha), Deduction (mane), Supplication (prarthana), Revelation (ksipta), Quarrel (gofaka), Outwitting (adhibala), Dismay (wd vega) and Consternation (vidrura)}.

64-66. The Limbs of the Pause (vimarga = avamzéa) are : Censure (apurada), Angry Words (semphets), Insolence (abhidrava) Placation (40, Assertion (vyavasaya), Reverence (prasanga), Rebuke (yuti), Lassitude (Ikeda), Opposition —(wisedhana),

£6 (C.57; K.XIX,51b, 52a). 57 (C.58;K.X1X.52b, 53a),

53-59 (C.59-60; K.X1X.53b, 25a). 7 See DR. I, 25-26; SD. 338; NL. $:

69-61 (C.61-62; K.XIX.55b, 57). 1 DR. 1, 81-32 reads sgamana for tipana; SD. 351. NL, 645.

62-64 (C.63-65; K.XIX.58-59), 1 DR. 1. 37-38, omits prorthané and vidrava, idds sambhrama, and gives Gksipta as Gksepa ; SD. 365. See NL, 7247. 64-66 (C.65-67; K.X1X.60-6]).

-XX. 71] THE LIMBS OF THE UNOTURES 889

Altercation (virodhana), Sumning up (@dana), Concealment (cha- dana), and Foresight (prarocana)!.

66-69. The Limbs of the Conclusion are: Junction (san- dhi), Awakening (vibodha), Assembling (grathana), Ascertainment (nirnaya), Conversation (paribhasana), Confirmation (dhrti), Grati- fication (prasada), Joy (a@nanda), Deliverance (samaya), Surprise (apaguhana), Clever Speech (hhagana), Retrospect (pii'va-ratya), Termination of the Play (kavya-samhara) and Benediction.(praéusti). These are the sixtyfour Limbs of the Junctures [in a play}.

३ Limbs of the Opening 69. I shall now give their definitions in due order?.

Suggestion Suggestion (upaksepa) is the origin of the object of the play.? Enlargement

, 70. Enlargement (paritara) is the amplification of the object originated’. Establishment Describing it (i. ९ the object) thoroughly is called Establish- ment (parinyasa)?. Allurement 71. The mentioning of good qualities is known as Allure- ment (vilobhana)?.

१ Emend एकक into abhidrava. DR. 1. 44-45. omits abhidrava, kheda, nisedhana and sadana ant adds oidrava, drava chalana and vicalana; SD. 3780. follows NS. except that abhidrava appears there as drava; chadana should be emended into stdana; sce NL. 798ff.

66-68 ((,67-69; K.XIX.62-63). ` Emend ५८1. See SD. 391 reads krti as dhrtt. DR. 1. 49-50 gives dhrtt as krit, purvavakya as purvabhiva, upasamhara os kivyasamhara, NU, 801६ omits sandht and wibodha, gives dhrtt as dyutt, and instead of the first two gives artha and anuyoga.

2 Cr DR. I. 40; SD. 874; NL. 755.

69 (C.71; K.XIX.64b-95a). 1 ©. reads before this another couplet which in trans, is as follows: For the development of the Germ, all these (ie, 64 limbs) should make up the Junctures properly and |.ave clear meanings. This does not occur in K.

५ See NL. 556; SD. 338 Cf. DR. I. 27.

70 (C.72; K.X1X.65b-66a). ` ६०० NL. 569; SD. 840 DR. I. 27.

* Sos NL. 575; SD. 341; DR, I. 27. ।

71 (G78; K.XLX.69b-67a). } See DR. 1. 97; SD. 342; NIL. 586,

390 THE NATYASASTRA [ XXI. 79.

Decision Settling the issues is called Decision (ywhti)?. Accession 72, Accession (prdpti) is summing up the purpose of the Opening (mukha)!, Settling Settling (samadhana) is summing up the purpose of the Germ (bija)?. Conflict of Jeclings 73. Joys and sorrows occurring in a situation, is called onftict of Feelings (vidha@na)?. Surprise Surprise (paribh@vana) is an excitement giving rise to curiosity ?. Disclosure 74. The sprouting of the purpose of the Germ (hija), is called Disclosure (udbheda)*. Activity Taking up the matter in question is called Activity (/arana)? Incitement 75. That which is meant for disrupting an union is called Incitement (bheda)!.

These are the limbs of the Opening (1uhha).

Limbs of the Progression I shall now speak of those of the Progression (yratimukha).

2 Sce SD. 343; DR. I. 28; Haas translates it differently, SD. 343 and NL, 593 seem to misunderstand this definition.

72 (60.74; K.XLX.676-68a), ' Emend sukhartha®’ to mukhartha’. See NL. 598-599. DR. 1. 28; and SD. 344 follows what seems to be a wrong reading of the NS, ° See NL. 605 f. Cf. DR, 1. 28; SD, 345.

73 (C.75; K.XIX.68b-69a). " See DR. I. 29; SD. 346; NL. 609-610.

? See NL. 617; Cf. DR. I. 29; SD. 347.

74 (0.76; K.XIX.69b-70). " See SD. 348; NL. 620. Cf. DR. I. 29.

2 See SD. 349; NL, 628. Cf. BR. I. 29.

“75 (C.77; K.XIX.70b). `" See NL, 626; SD. 350. Cf. DR. I. 29.

न ए, 80] THE LIMBS OF THE JUNCTURES 391

Amorousneas 76. Amorousness (vil@sa) isthe desire for the pleasure of love (rati)?. Pursuit Pursuit (parisarpa)? is the pursuing of an object once seen and then lost. Refusal 77. Refusal (vidhita)' is not complying with the request made [by any one]. Pessimism Thinking about (lit. seeing):some danger [in future] is called Pessimism (tapana)?. Joke 26. The laughter which is meant for sports is called Joke (narma)}, Flash of Joke The laughter which is meant for concealing one’s fault is called Flash of Joke (narma-dyuti)?. Moving Forward 79, Speaking words which bring in other words after them is called Moving Forward (yragamana)*, Hindrance Appearance of some calamity is called Hindrance (nirodha)?, Paeification 80. Conciliating an angry person is called Pacification (parynpasana)?,

76 (C.78; K.XIX.71). " See SD. 352; NL. 650ff. Ct. DR. 1. ४. =“

° See SD. 353; DR. I. 32-33, Cf. NL. 657,

77 (C.79; K,XIX.72). 1 Of..NL 663; DR. I. 33; SD, 354 has ०2201 for णव.

° 806 NL. 669 Cf. SD. 355 defines it as upayadariana. DR. defines Sama instead of (0642 (1.38).

78 (C.80: K.XIX.73). ! Cf, DR. 1. 33; DR. 356; NL. 1310.

> Cf. DR. I. 33; SD. 357; NL, 672.

79 (C.80; K.X1X.74). + Read wtlarotlaram wikyam tu bhavet pra- gamanam, Cf. NL. 676; DR, I. 34; SD. 358,

* See NL. 688; DR. 1.34; SD. 359 reads at7odha for ntrodha.

80 (C.82; K.XIX75). > Sec NL. 687. Cf. DR. 1, 34; SD. 360. ९

392 _ THE NATYASASTRA { XXI. 81.

Sweet Words Mentioning some favourable peculiarity is called Sweet Words (puspa, lit. flower)? Thunderbolt 81. Harsh words uttered on one’s face is called Thunderbolt ajra)?, ert) Reference Reference (1panyasa) is a remark based on reason. Meeting of Castes 82. Coming together of the four castes is called Meeting of Castes (varna-samhara)*. These are the Limbs of the Progression (pratimulha),

Limbs of the Development Now listen abont those in the Development (garbha). Mis-statement (4 specch] founded on deceit is called Mis-statement (kapatagraya)!, Indication Speaking out [one’s] real intention (lit. reality) is called Indication (marya)?. Supposition 84. A hypothesis with which novel meanings are combined, is called Supposition (तव). Exaggeration A speech with an overstatement is called Exaggcration (uda@harana)®

* Cf. DR. 1.34; SD. 361; NI. 691

81 (C.83; K.XIX.76). ’ Emend pratyaksa-ripam into pratyaksa- ruksam, Cf. NI. 697; I. 35 SD. 362.

* See NL. 700; ef. DR. I. 35; SD. 363ff. defines it differently and refers to the view of the NS as ¢ ¢u ete

82 (C.84; KN.XIX.77). ' NL. 704 dofines it as varnitasyarthasya trraskoro (concealing the matter expressed), and refers to the view of the Nb. as caturnim varnaniim sammelanam api ke’pi varnayant?, See SD 864; DR. I. 35

83 (C.85; K.XIX.78). ' Cf. DR. 1. 38; SD. 365; NIL. 727.

* Cf. SD, 366; NL. 730; DR. 1. 38.

84 (0.86; K.XIX.79), `" Cf. DR. I. 39; SD. 367; NL. 735.

? Cf. NL. 788; DR. I. 39; SD. 368,

-XXI 89] THE LIMBS OF THE JUNOTURES 395

Progress 85. Foreseeing of what is coming afterwards, is called Progress (kama). Propitiation Use of sweet words and gift, is called Propitiation (samgraha)?, Deduetion 86. Perceiving something by the name of a thing similar to it in form, is called Deduction (anwmana)*. Supplication Request for love’s enjoyment (rati), rejoicing, festivity and the like, is called Supplication (prarthana)?. Revelation 87. The unfolding [of the Germ] in the Development (yarbha), is called Revelation (दाक्ष). Quarrel An angry speech is called Quarrel (totaka)?, Outwitting 88. Cheating of a deceitful person is called Outwitting (11101110) 1, Dismay Fear arising from the king, an enemy ora robber is called Dismay (wdvega)?. Panicky Commotion 89. Flurry caused by fear from the king or fire is called Panicky Commotion (ri?rava)', These are the Limbs in the Development (garda).

Limbs of the Pause Now listen about those in the Pause (aramaria = rimargu),

85 (C.87; K.XIX.80), 1 Emend dhavaktwo into bhavitatvo Cf. SD 69; NL. 740; 77.139. =» Cf. SD. 870; NL. 744; DR. I. 40

86 (C.88; K.XIX.81). ' Cf. NL. 746 DR. I. 40; SD. 371.

2 Of SD. 372; DR. 1, 40, NL. 749.

87 (6.89; K.X1X.82). " Cf DR. I. 42 has f SD£A73 has stpti=aksipti; NL. 751 has utkstpta.

88 (C.90; K.XIX. 88). } Cf. SD. 375 DR. I. 40; NL. 72%

* Cf, SD. 376; NL. 761; DR. 1. 42

89 (6.91; K.XIX, 84a). " Cf DR. I, 42; SD. 377,

50

994 THE NATYASASTRA { XXI, 90-

Censure 90. Proclaiming anyone's fault is called Censure (apavada),? Angry Words Words spoken in anger are called Angry Words (sampheta)?. Insolence 91. Trangression of the superiors is called Insolence (abhi-drava)*. Placation Allaying of disagreement [with anyone] is called Placation (éalcti)?. Assertion 92. A promise made on account of some reason is called Assertion (vyavasaya)}. Reverenee

Mentioning one’s superiors is called Reverence (prasanga)?. Rebuke 93. Words spoken in contempt are called Rebuke (dyuti)¥.

Lagsitude Fatigue arising from a mental effort is called Lassitude (kheda). Opposition 94. Obstruction to one’s desired object is called Opposition (nisedha) Altercation Speaking and counter-speaking in excitement is called Altercation (virodhana)?,

90 (C.92; K.XIX.84b-85a). ' See NL. 801; Cf. DR, I. 45; SD, 878. 2 See NL. 807, Cf. DR. I. 45; SD. 379. ` 91 (C.98; K.XIX.86b-86a), 1 Emend otdrava into abhidrava. Sec 2818. SD.381 and DC. I. 45, has dvava in place of abhtdrava. 9 Emend vtrodhopagamo into virodhopasamo ; cf. NL. 819; DR. 1

ID. 380 DR. 1. 47.

38, and SD. 386 has pra/zsedha in place of this 40;8D.:387. =“

-XXI. 99] THE LIMBS OF THE JUNCTURES 898°

Summing up , 95. Bringing together (lit. attaining) [all aspects] of the Germ (bija) and the action is called Summing up (@dana)?. Humiliation Putting in insulting words for some purpose is called Humiliation (sadana)?, Foresight 96. That which represents the Conclusion (samhara) [in advance] is called Foresight (prarocana)*. These are the limbs in Pause (avamsa = 0100000}, The Limbs in Conclusion Now listen about those in the Conclusion (samhara= nirvahana). Junction 97. The coming up of the Opening (mukhu) and the Germ is called Junction (कषक), Awakening Looking duly for the Dénouement (arya) is called Awakening (vibodha)?. Assembling 98. Intimation of [the various aspects] of the Dénouement is called Assembling (grathana)?. Ascertainment Declaration of facts personally known is called Ascertainment (ntrnaya)®. Accusation 99. That which is said to blame some one, is called

Accusation (paribhasana)*.

95 (C.97; K.XIX. 99), ¬ 865 NL. 844, DR. I. 48; SD. 389.

2 Emend chadana into sadana, Sce NL, 848. DR. I. 46 has wrongly chilana for saduna SD. 390 also has chadana wrongly,

96 (C.98; K.X1X.88a, 918). 3 See SD. 388; NL. 850, DR. I. 47.

97 (0.99; K.XIX. 91b-92a). 1 Emend sukhabijo into mukhabifo ; of. DR. I. 51; SD. 392.

+ Cf. DR. I. 51; SD. 393.

98 (C.100; K.XXI.92b-93a). ' Cf. DR. I. 51, SD. 394; NL. 864.

° Cf. 8. 89४; DR. I. 51 ; NL. 870. ४

99 (60.101; K.XIX.93b-94a), ' Cf. NL. 873; SD. -396, DR. 1, 52 defines the Limb differently. - . १

396 THE NATYASASTRA [ XXL 100.

Confirmation Turning to use (lit. conquering) the object gained is called (dhgti)§, Gratification 100. Treating one with waiting upon or the like, is called Gratification (prasada)}, Joy Attaining objects [of one’s desire] is called Joy (Guanda)?. Deliverence 101. Passing away of all misery, is called Deliverance (samaya)?. Surprise Appearence of something wonderful is called Surprise (upagthana)?. Clever Specch 102, Words mentioning conciliation, gift and the like are called Clever Speech (bhasana)', Retrospect Retrospect (pir'va-valya)* is to be understood as a reference to something spoken before. Termination 105. Giving and receiving of a boon is called Termination (kacya-samhara)?. Benediction [A prayer seeking perfect] peace to the king and the country is called Benediction (praéasti)®. 104. With a view to introducing Sentiments (rsa) and 2 Emend dyutz into क €. DR I. 53; SD, 397. 100 (C.102; K-XIX.94b-95a), ` Cf. NL, 879; SD. 398; DR; I, 52. * Cf. NIL. 881; ‘SD. 399; DR. I. 52. 101 (C.103;K.XIX.95b-96a). + Cf, DR. I. 52; SD. 400; NIL 883. ¬ Cf. NL. 889; SD, 401: DR. I. 58. 102 (€.104; K.XIX.96b-97a). ' €. SD. 402; DRI. 53. NUL. 891. * 0६ NL. 891; SD, 403. 108 (C.105; K.XIX.97a-98a). 1 See SD. 404; of. NL. 893, DR. I. 54. ५ Read nrpa-desa, ४) SD. 405, NL. 895, DR, I. 54, 104 (C.106; K.XIX.98b-994), ' Cf, SD. 406; NL. 906.

-XXI. 1091 THE LIMBS OF THE JUNCTUEES 397

States (bhava) an expert playwright should insert all these Limbs into appropriate Junctures of his work*.

105, Considering [the scope] of the Action or its condition he may sometimes insert all the Limbs or a combination of two or three [of them] into the Junctures?.

Five Explanatory Devices

106. The Supporting Scene (viskambhaka), the Intimating Speech (के), the Introductory Scene (pravegahu), the ‘Trangi- tional Scene (wikavatara), and the Anticipatory Scene (« ikanulha) are five Explanatory Devices (arthopaksepaka)'.

The Supporting Scene

107. The Supporting Scene (viskambhaka)? should employ the middling? male characters, relate to the opening Juncture (mukhasandhi)? only of the Nataka, and it is [to be] graced (lit. refined) by a priest, minister or Kaiicukin (armour-bearer).

108. The Supporting Scene is of two kinds; pure and mixed. Of these the pure is made up of the middling characters and the mixed of the inferior and the middling ones.

The Intimating Speech

109. When some points are explained by a superior, mid- dling or inferior character from behind the curtain, it is called the Intimating Speech (cudika)}.

105 (C.107; K.XIX.99b-100a). + See above 104 note 1.

106 (C.108; K.X1X,104). ` Cf. DR. 1. 58; SD. 308. NL. 298, Haas translates arthopaksepaka ag “Intermediate Scenes”, sec p. 38. But the ‘Explanatory Devices’ are all not complete scenes but parts of scenes, vide infra.

107 (C,109; K X1X.103), * Cf. SD. 308; DR. 338; DR. I. 59 Kmend viskambhakas tu samskrta into viskambhakah samskrtah NL, 362 £. quotes the view of Carayana as follows: प्रकरण नाटकषतरिषयो विकान्मक दति, (Vixkambhaka relates to the Prakarana and the Nataka ‘only). It seems that such was the ease at a later stage of the development of Indian drama. Virst it related to the Natakas only. ,

2 For a definition of the middling character see NS. XXXIV. 4

५ According to this direction the veskambhaka ot the beginning of Paiica, would be an ideal one. 108 (C.110; K.XIX.106).

109 (C.1IL; K.X1X.107), 1} € वा, 414 £, 438; DR. 1.61; SD. 310.

398 THE NATYASASTRA [ XXI 110

The Introductory Seene

110. The Introductory Scene (praveéaka) in relation to the Nataka and the Prakarana, is to occupy a place between two Acts and to treat the summary of the Prominent Point (bindu)

111. The Introductory Scene should be known as not con- sisting of the exploits of the superior and the middling characters and there should be no exalted speech in it, and its language should be Prakrit*.

The Transitional Scene

112. As in practice it falls between two Acts or within an Act, and relates to the purpose of the Germ (dij), it is called the Transitional Scene (aihavatara),

The Anticipatory Scene

113. When the detatched beginning of an Act is summa- vised beforchand by a male ora female character, it is called the Anticipatory Scene (ankumukha)>.

An ideal Nataka 114-117. The playwright should write a Nataka having

110 (C.112; K.X1X.108). ' Cf. DR. I. 60-61; SD 309; NL. 80

111 (0.113; K.XIX.109). ` See Ns. XX. 32. Cf. DR. 1. 60-61. SD 309. ©. gives one additional couplet after this. But this (not occuring in K.) seems to give no new information.

112 (C,115; K.XIX.110). ' Cf. DR. 1. 62.63; SD. 311; NL. 398-399. The def. is not very clear. The aikivatéra scems to furnish an indication of the subject-matter of the next Act. An example of this scems to be ‘the dinlogue of the Ceti and Vasavadatta at the end of the Act II. of Svapna. This relates to the making of a garland by Viasavadatta. Another example rtay be Avimaraka speaking एवः समासः | सवथा gees ofa- Wag Farag! तदनुमनुमषटसि aera, IT. 5-6 This gives a elue to the subject-matter of the next Act which treats Avimiraka’s entry into the royal harem. :

118 (C.116; K-X1X 111). 1 The ankamukha seems to relate mostly to plays other than of the Nataka and the Prakarana types. Txamples of this are perhaps.the speeches of the Bhata in the beginning of the Karna, and of the Ditagha., The reason for the above assumption is that the rules prescribe wskambhaka for Natakas only (sec 107), and pravesakas for both Niatakas and Prakaranas (see 110) Cf, DR. I 62; SD. 312, 313; NL. 408.

114-117 (C,117-120; K-XIX.112-]15)

-XXI. 122] THE LIMBS OF THE JUNCTURES 899

[different] Styles and minor Limbs (pratyanga)1, Episode Indication (pataka)*, Explanatory Devices (athapratikriya)® arising from the five stages (avastha)*, having five Junctures (sandhi)®, twentyone Alternative Junctures®, sixtyfour Limbs (anga)?, thirtysix laksanas®, Gunas (excellence)® and figures of speech (alamiara)!°, many Sentiments?!, topics of many enjoyments, exalted speeches, characters of great people, description of good conduct, and it should be popular, wellknit in its Junctures, easy for production [on the stage], composed with soft words and capable of giving pleasure,

118, The condition of the world arising from the happiness and misery and connected with the activity of various people should find a place in the Nataka?.

119. There is no wise maxim, no learning, no art or craft, no device; no action that are not found in the drama (natya)?.

120. And the human nature with its joys and sorrows depicted through the means of representation such as Gestures, (Words, Costume and Temperament] is also called a drama (natya)}.

121. A mimicry of the past exploits of gods, sages, and human beings should be also called a drama?.

122. As [this] is represented (abhiniyate) and interpreted (ganyate) by the actors who after suppressing their own nature make [for this purpose] various movements of their different limbs, it is called the Nataka?,

1 Pratyanga has not been defined anywhere. It is possible that the reading is corrupt.

2 Patakis hore stands for patiki-sthanaka just as “Bhima” for “Bhimasena”, see above 30ff.

3 Arthaprattkriya is only a synonym of arthaprakari. Seo before 20ff. 4 Sce before 6ff. 5 Sce before 35

° See before 48ff. 7 See bofore Saif. 8 8०० NS. XVII. lf.

१ Seo NS, XVILV6f. 1० See NS. XVIL43", 1" Se NS. VI.

118 (©, 121; K.XIX.116). ! Cf. NS. 1.120

119 (C.122; K.XIX.117). + See NS. 1.116

120 (60.193; K-XIX.119). + See NS. 1191

121 (C.124; K.XIX.119). } See NS. 1.120

122 (C.125; K.X1IX.120), + This very clearly defines the artistic character of drama.

400 "(THE NATYASASTRA [ XXI. 198.

128. The Nataka 18 to beso composed as to include all States, Sentiments, inclination to all deeds, and the various condi- tions [of men and nature],

124. The various arts and crafts produced by human beings may be applied in the Nataka' in their endless forms?.

125. One is to construct a Nataka [only] after observing the human character, strength and weakness of men, their [mode of] enjoyment and reasoning?.

126. In succeeding ages men will be difficient in wisdom ; hence those who will be born [after us] will have small learning and intellect.

127. When the world deteriorates, men’s intellect, activity, [production of] crafts and skill in arts will dwindle.

128, Hence after observing the strength and the weakness of human feeling, one should compose the Nataka with pleasent and casily intelligible words.

129, The plays (lit. poems) which contain {harsh], words like ev-kridita™ is repulsive (lit. do not shine) like a courtezan in the company of a Brahmin bearing a Kamandalu.

130. O Brahmins, I have spoken about the Plot with its Junctures and Limbs. I shall hereafter speak of the characteristics of the Styles.

Here ends chapter XXI of Bharata’s Nityasistra, which treats of the Limbs of the Junctures,

123 (C.126; K.XIX.121), ¬ Of NS. L113

124 (0.127; K.XIX.122), 1 Emend ekakarma into lokakarma,

195 (0.128; K.XIX. 123). + This puts emphasis on depicting charac- ters in adrama. `

126 (60.199; K-XIX.124). 127 (0,130; K.XIX.125).

128 (C.131, K.XIX.126).

129 (८6.159; K.XIX.127). 1 Bhisa actually uses the root of this verb form in his Avi. (1II-18.0).

13) (C.133; K.XIX.128).

CHAPTER TWENTYTWO THE STYLES The origin of the Styles

1. I shall now explain in detail (lit. from the beginning) the rise of the Styles (vytt’) and [in relation to them] the origin and

the formation of dramas?!.

2-3. When the lord Acynta (Visnn) after reducing the universe into a single [vast] ocean and compressing the creation [into a seed] by his supernatural power, was lying on the couch of snake, the two Asuras Madhu and Kaitabha maddened with the pride of their strength challenged the god at once for battle’.

4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Visnu (hhita- bhavana, lit. the creator of beings) with their fists and legs (lit. knees), and while doing so they also assailed him (lit. one another) with harsh words and shook as it were the ocean with their reviling speech?.

The origin of the Verbal Style

6-7. Hearing the various [abusive] words of these two who were threatening? [Visnu], Druhina (Brahman) was slightly [ल turbed in mind and said, “Ts it the (वकता 1/1 that start with these words [for the fighters] and goes on increasing stage by stage ? Kill the two [at once}”

8-10. Hearing these words of Pitémaha (Brahman), Madhusiidana (Visnu) said, “Yes, I have made this bharuit rrtti

1(C.1; K.XX.1). " Sagaranandin explains the 214४ as follows : aaah गौतवादितरसभावाभिनयगरलयज्ञातीनां af विशेषे वर्तनमिति af: कथितः। अधवा विलास- विन्धासक्रमो हत्तिरिति, NL. 10447.

2-3. (C.2-3; K.XX.2-3). 1 The story of Narayana’s reducing the three worlds into ‘a single ocean’ occurs in the Ram. $, 72:; Ktirma P. XIII. See JK. under Visnu (8) and Narayana (8).

4-5 (C.4-5; K.XX.4-5). ` Madhu and Kaitabha charged Narayana with the theft of the Vedas. Ram. VII. 72. See JK. under Kaitabha.

6-7 (C.6-7; K.XX.6-7). } Emend garjatoh into tarjatoh (tarjatim, K).

8-10 (C.8-10; K.XX.8-10),

5]

402 THE NATYASASTRA [ XXI. 11.

for the purpose of my work. It will be the (0 काकि प्रम्‌ the speaker, in which words will preponderate. I shall kill these two Asuras today”. So saying Hari (Visnu) with his perfect gestures? and Angahiras® severely fought these two Daityas who were experts in the method of battle. .

11. Atthat time Hari’s pacing with the Sthanakas? on the ground created a great bara (burden) on the earth (lAumi); the bharati ryttt (Verbal Style) was built on that (Dhara)?.

The origin of the Grand Style

12, And at that [very] time, by the rebounding of the bow named Sarhga which was intensely brilliant, steady and full of much saitta (strength) the satlvati criti (Grand Style) was made?.

The origin of the Gracecful Style

13. When [in course of fighting] the god moved sportively with various Angahiras and tied up his sitha (त ?) the haigiha ortti (Graceful Style) was madet.

The origin of the Energetic Style

14, Then from the various personal combats which were full of energy and excitement, and which entailed various Caris the Energetic (@rabhati vytti) was madc!.

15. Whatever acts the god Brahman observed as arising out of the different Styles (rrtti), were associated! by him (Druhina = Brahman) with words suitable to their meaning.

16. When the two Asuras Madhu and Kaitabha were killed by Hari (Visnu) Brahman spoke to him (Narayana = Visnu) who was the subdduer of foes (arindama).

॥ aigath here means angikath and engahirath.

2 Soe NN. IV.19-27, 170ff.

11 (6.11; K. इ 2.11). } See NS. XI. 49.

2 This is a clear instance of folk-etymology and docs not really explain the origin of this Style. It possibly comes from the Bharata tribe ; see NSI. 4111,

12 (C.12; K.XX.12). ™ See above 11 note 2.

18 (C.13; K.XX.13). `" See above 11 note 2.

14 (C.14;.K.XX.14). 1 See above 11 note 2.

„1; (0.15; XX.K.15). * Emend pratyapiijayat into pratyayojayat. - 16 (C. 16; K.XX.16), ।

-XXI. 96 ] TEN STYLES 403

The origin of the Nyaya

17-18. O god, thou hast killed the Danavas ‘vith various clear, expressive and graccful Ahgaharas ; hence this method of personal combat [applicable] in throwing all kinds of missiles in this world, will be termed as Nyaya'.

19. Even this fight made with the Afgaharas which arose from the Nyayas and observed them (Nyayas) [in practice] will be called the Nyaya?.

20, Then the high-souled Druhina (Brahman) gave over to the gods this Style full of various States and Sentiments, [for its use] in the production of plays.

21-22, The name Style (rrtti) was made a repository of the various States and the Sentiments. And whatever was made and in whatever manner, the exploits of the god (Visnu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which have their origin in materials taken from the four Vedas?, and which also have Words and Gestures as their chief characteristics.

23. These Styles which were desired, wellborn and full of various Caris, were again, taken by me at Druhina’s command, for the purpose of making plays (lit poem)’.

24. The Verbal Style (VAaraté vytit) was from the Rgveda, the Grand (saétvati) from the Yajur-veda, the Graceful (haisitz) from the Sdéma Veda and the remaining one (i.e. the Energetic or (arabhati) from the Atharva [Veda]?.

25. The Style which is to be applied by the male characters and not by females and which gives prominent place to speeches

17-18 (C.17-18; K.XX-17-18). ' See NS. XI. 74ff.

19 (0.19; K.XX.19). " See NS, IV. 170

20 (C.20; K.XX.20a, 21a). :

21-22 (C.21-22; K.XX.21b-23a), 1 Emend nalyaveda into caturveda.

23 (01.23; ए. XX.20b, 23b). ` Emend 23a as follows. gafter सुनाता च नानाचारो-खमाकुला,

24 (0.24; K.XX.34). | This is a different story about the origin of the ४८45, 866 before 2-14. ४

25 (C.25; K.XX.25).

404 THE NATYASASTRA [ XXI, 26-

made in Sanskrit, is used by the eponymous bharatas (actors) as bharati (Verbal)?. The four varicties of the Verbal Style

26. It has four varieties such as the Laudation (vraro ‘ana), the Introduction (Gmukha), the Vitht and the Prahasana, and these have became its component parts (aiga)?.

The Laudation

27. The Laudation (prarocana) in the Preliminaries is to

attain success, prosperity, good luck, victory and removal of all sins.* The Introduction

28-29. That part of a play where an actress}, the Jester or the Assistant has a talk with the Director on some relevent topic, and they use interesting words or adopt any type of the Vithi or talk in any other way is called the Introduction (a@mukha)*, I shall speak in detail about its five varieties (lit. clements).

The five varicties of the Introduction

30. The Accidental Interpretation (udyhatyaka), the Open- ing of the Story (/uthoyhala), the Particular Presentation (prayo- gatisaya) the Personal Business, (praryttaka) and the Transferrence (nvalgita) ave the five varieties of the Introduction (2011010) 1,

31. Of these the characteristics of the Accidental Interpre- tation (udyhatyaka)? and the Transferrence (avalyita)? have been mentioned by we. 1 shall now speak in detail of the characteristics of the rest. Opening of the Story 32. [That Introduction] in which a character enters (the stage| taking up a remark of the Director or its meaning, is called the Opening of the Story (huthodghate)t.

NE. 1054. DR. 11. 5 ; SD. 274, AP. modifies this def. by adding striyulta prikrtoktita, Haas, on DR. JI, 5 0.81).

26 (C 96; K.XX 26). |} Cf. NIL. 1008-69; DR. IIL 5 ; SD. 285,

27 (0.27; K.XX.27). } Cf NL. 1070-71#; DR. IE. 6 ; SD. 286.

28-29 (C.28-29, K.XX.28-29). ' Cf. NU.1178-81, DR. JIL 7 SD. 286.

30 (C.30; K.XX.30). | Cf NL. 11-88-89 DR? HL 8, SD. 287.

31 (C31; K.XX.81). 1 See NS. XX.117 Cf. NL. 1189 ;. DR, IL 14 SD.28% * Sce NX, XX. 118; NL. 1192, DR. II. 15; SD. 292.

, ४४ (८.22; K.XX.32), ` Cf NL, 1196; DR. JIL. 9; SD. 289.

-XXI. 89 1 TEN STYLES 405

Particular Presentation

33. When, over this production [of the Introduction] the Director imposes another production and then a character jenters [the stage], it is called the Particular Presentation (prayogatigaya).?

Personal Business

34. [The Introduction] in which the Director speaks on some business in hand and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business (pravzttaka)!.

35. ‘Taking up one of these types and skilfully giving double meaning to it, the wise [playwright] should construct the Introduc- tion by freely assembling different characters?.

36. The wise are thus to know the Introduction with differ- ent bases?. The characteristics of the Vithi? and the Prahasana® have been mentioned before.

57. These are the eight? different aspects (lit. meanings) of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style (salévatz) with its characteristics.

The Grand Style

38. The Style which is endowed with the saétcute quality, the Nyayas, metres, and has exuberance of joy and an under- current of the State of sorrow}, is called Grand (sattrati)?.

39. The Grand Style is known to consist of representation by Words and Gestures, und of strength in speeches and acts showing the rise of spirit.

33 (C.83; K.XX.33). | See NI 1201-1202; DB. 1. 11; SD. 290.

34 (C.36; K.XX.32). | Ch NL. 1214-1215; SD. 291; DR. TIL 10,

35 (C.35; K.XX.35). 1 1.6. actress, Jester or the Assistant. See 28 above.

36 (C.36; K.XX.36), | Emend oezdudhis rayam into wrurdhisrayam,

° Soo NS. XX. LLM. २ Soo NN NX. LLP.

87 (C87; K.XX.37). + Prarocani, Vithi, Prahasana and five varieties of Amukha. 8०९ before 26-30.

38 (C.38; K XX.38). + This shows that no pathetic subject-matter should find a place in this Style.. ~

2 Sec NE. 1284. SD. 416. DR. II. 53.

39 (८.39; K.XX.39),

406 THE NATYASASTRA [ XXI, 40-

40. Itis to contain the Sentiments such as Heroic (vira), the Marvellous (adbhuta) and the Furious (raudia) and to a small extent (alpa) the Pathetic (twruna) and the Erotic (grngara), and characters in it should be mostly majestic and defying one another!.

The four varieties of the Grand Style

41. It 18 known to have the four varieties such as challenge (utthapaka), Change of Action (parivartaka), Harsh Discourse (samlapaka) and Breach of Alliance (samghata)?.

Challenge

42. One’s rising up with a view to conflict after saying “I am getting up [for battle, now] show me your own prowess” is called the Challenge (utthapaka)},

Change of Action

43. If after leaving the thing which caused the rising up, one takes to other things due to some need, it is called the Change of Action (parivartaka)*.

Harsh Discourse

44, Various kinds of words containing abuse or insult whether these arise from a challenge or not, are called Harsh Discourse (samlapaka)?.

Breach of Alliance :

45. The stopping of an alliance for the sake of a friend,! money or due to an accident or [one’s} own fault, is called Breach of Alliance (samghata)?.

46. These are the eight meanings? of the Grand Style that I spoke of. I shall hereafter describe the characteristics of the Graceful Style (Laisika vyttz)?.

40 (C.40; K.XX.40). ` See NL. 1271-1273).

41 (C.41; K.XX41), | Cf DR. II. 53 SD. 416, NL. 1274ff.

42 (C.42; K.XX.42), 1 Cf. NIL. 1276, 4278, The text on this point scems to be corrupt, also cf. DR, II. 54; SD. 416.

43 (C.43; K.XX.43). ` Cf. DR. IDL 55; SD. 419; NI. 1279-1282.

44 (C.44; K.XX.44): 1 Cf. DR. 1. 54; SD. 418, NL. 1288.

45 (C45; K.XX.45). 1 Read mtrartha-karya.

° CE. NL. 1298-1299; DIR. HL. 55; SD. 417.

46 (0.46; K.XX.46). | Utthapaka, parivarttaka, the two kinds of samlapaka and the four kinds of samghata. Sce before 41, 44, 45,

-XXI. 821 TEN STYLES 407

The Graceful Style

47, That Style is called Graceful (वो which is apecially interesting on account of charming costumes worn by [dramatis personae] mostly women, and in which many kinds of dancing and singing are included and the themes acted are practices of love and are connected with (lit. arising from) its enjoyment?.

The four varieties of the Graceful Style

48. The Graceful Style is said to have the four varieties such as Pleasantry (narman), Beginning of Pleasure (narma- phurja) Unfoldment of Pleasure arma-sphote) and Covert Pleasure (xarma-garbha)?.

The three kiuds of Pleasantry

49, The Pleasantry (varma) which abounds in remarks made in jest, is of three kinds : that based on love, that with pure laughter and that having Sentiments other than the Heroic’.

50. The Pleasantry (navman) is known as concerned with acts of jealousy and anger, words of rebuke, self-reproach and deception of others.

Beginning of Pleasantry

51. The Beginning of Pleasantry (xarma-sphurja) is to be known as the first meeting [of lovers] in which words and dresses exciting love [are in evidence} but which ends in fear?.

Unfoldment of Pleasantry

52, The Unfoldment of Pleasantry (narma-sphota) is the cause of the Sentiment contributed by small fraction of different States (bhava) and not by any State as a whole’.

47 (C.47; K.XX.47). | Cf. SD. 411; DR. II. 47; NL. 13047. 48 (C.48; K.XX.48). ' Cf. DR. IL 48; SD. 411; NL. 1308ff.!

49 (C.49; K.XX.49). } Cf, DR, II. 48-50; SD. 412; NL. 1310 defines narma os follows: परापवादः परेरद्चौलेष विवजितम्‌। TRAIAN AG नम खाच्छप्रगर्मकम्‌ ; but the def. of the NS. as well has been referred to.

50 (C.50; K.XX.50). : 51 (0.51, K.XX.51). + Cf NL. 1342-1343; DR. I. 51; SD. 413. 52 (C.52; K.XX52) } Cf. DR, II. 51; SD. 414; NL, 1836 f,

408 THE NATYASASTRA { XXI. 53

Covert Pleasure 53. When the Hero acts incognito out of any necessity through his qualitics such as intelligence, [good] appearance and affection, it is called Covert Pleasure (navma-garbha)}.

54, These are the eight different meanings of the Graceful Style that I was to speak about. I shall hereafter describe the Ener- getic Style Grabhatz) which is concerned with haughty Sentiment.t

The Energctie Style

55, The Style which includes mostly the qualities of a bold person (@rabhate) such as speaking many words?, deception, bragging and falsehood, is to he known as Energetic (@rabhadi)?.

56. The Style in which there ix a representation of falling down?, jumping, crossing over, deeds of magic and conjuration, and various kinds of fighting, is called Energetic (arabhati)?.

The four vari¢tics of the Energetic Style

57. Tt has varieties such as Compression (sandtsiptala), Commotion (arapate), Raising Various Feelings (rastilthapana) and Conflict (sampheda)?.

Compression

58. Compression (smbsiptuka) is furnished with workman- ship (spa) in the true sense of the words and it includes the

53 (C53; K.XX.53), 7 According to Sigaranandin (वषु ig an auga of the Gaudi ००४८ : NL. 1385. Cf. DR. 11. 52; SD, 415; NL, 1338 f. ©. adds an additional def. (C.5-4) of this, but it is wanting in K.

54 (0.55; K.XX.54) + The three kinds of arma, the three kinds of marma-garbha and narma-phiirja and narma-sphola.

55 (C.56; K.XX.55). 1 ‘Many words’ probably mean altercation or verbal duel. > Cf. NL. 1848 ff DR. IL. 56-57; SD. 420.

56 (C.57; K.XX.56), The reading prasti’ in prastava’ scems to be corrupt. Emend this to ०05८2८९,

2 See above 56 note 2. ©. adds one more def. (C.58) of trabhati but this is wanting in K. In trans. it will beas follows: That which includes excitement due to an application of the sixfold policy (sadguna), running away duc to deception of the enemy, and that which relates to [material] gain or loss, is called the Energetic Style.

57 (C.59; K.XX.57). ' Cf. NIL. 1356 f, DR, 1. 56-57, SD. 420.

58 (C.60; K.XX.58). 1 Cf DR. IL. 57-58, SD. 422, NL, 1858 f. gives another def. samksipataka.

-XXIL. 65] THE STYLES 409

presentation of model works (५/५) drawings, and dresses, and relates to some condensed matter. Commotion

59. Commotion (avapata) is known to. relate to the occurrence of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exist?.

Raising the Theme

60. That deed which is represented as being connceted with: panic or no panic, and includes a combination of all the Sentiments is called the Raising the Theme (rastatthapana)?.

Conflict

61. Conflict (sampheta) is known to include excitement, many fights, personal combats, deception, split and [mutual] striking of weapons},

62. These are the Styles to be reckoned by the wise in connexion with the drama. Now listen about their application in, different Sentiments, which T am going to tell you.

Styles according to Sentiments

63-64. The Style in the Erotic and Comic Sentiments should be Graceful and in the Heroic, the Furious and the Marvellous Sentiments it should be Grand. And in the Terrible, the Odious and the Furious Sentiments one should use the Energetic Style, while the Verbal Style is applicable in the Pathetic and the Marvellous Sentiments!.

65. Ihave spoken properly about the Histrionic Represen- tation dependent on Words, Gestures, Temperament and the Styles. Now I shall treat of the Costumes and the Make-up used in the production of plays.

Here ends Chapter XXII of Bharata’s Natyasastra which treats of the Styles.

59 (C.61; K.XX.59). ' Cf. 78. 1. 59. SD. 423; NL. 1368

60 (C.62; K.X.X.60). } Cf. DR. IL. 59, SD. 420; NL. 18728,

61 (6.68; K.XX.61). `" & DR. IL. 50; SD. 421; NIL. 18808.

62 (C.64; K.XX.62).

63-64 (C.65-66; K.X X.63-64). ` Cf. NL. 1059-1562. DR. II. 62;

SD, 410, ©, repeats after this two couplets from the Ch, VIL (118-119). 65 (C.69; K.XX.65), 52

CHAPTER TWENTYTHREE THE COSTUMES AND MAKE-UP

Necessity of the Costumes and Make-up

1, I shall similarly speak in due order, O Brahmins, about the Costumes and Make-up ; for the production [of a play] depends on this?.

2. The Extrancous Representation (@haryabhinaya) deals with the rules of the Costumes and Make-up (nepathya)®. Anyone who wishes for the success (lit. swell-being) of a dramatic production should pay attention to these’.

8. The dramatis personae are of different types?. Indicated first? by their Costumes and Make-up they accomplish the repre- sentation without much effort by means of Gestures and the like.

Four kinds of the Costumes and Make-up

4. The Costumes and Make-up (nepathya) ave of four kinds; model work (pwsta)?, decoration (alambkara), painting the limbs (anga-racana) and living creatures (sanjiva),

The four kinds of model-work

5. [Of these] the model-work is of three kinds and of various forms. They are: the Joined Object (sandhima), the Indi- cating Object (vyajima) and the Wrapped Object (vestima).

6. The model work whichis made up of mat, cloth, skin and the like, is called the Joined Object (sandhima)?.

1(C.1; K-XXI.1). | ए. reabs Ib differently.

2 (0.9; K.XX1.3). | ©, reads after this an additional couplet.

3 (0.4 K.XXI.2). | Nanavastha—ninablitis ya sokidya nimi- bhutasrayis ca (Ag. p. 429).

2 Read purvam (piirva, C.) nepathya-sicttah (stictkah, C, sadhttih)

4(C.5; K.XX14). | K. mukta for pusta.

2 XK, natyanga-racana for tathinga-racana.

5 (6.6; K.XX15). | Cestimah, ©, for vestimah, K.

6 (C.7; K.XXL8). } Sandhimah—sandhinatayi nirnttah (Ag. p» 429), :

-XXIIL 12] THE COSTUMES AND MAKE-UP 411

7. That which is made by means of a mechanical device (yuwtra) is called an Indicating Object (vyajima)? and that which is produced by wrapping, is called ४ Wrapped Object (vestima)?.

8. Hills, carriages, lofty palaces, shields, armours, banner- staffs and elephants? which are constructed for use in a dramatic performance are called model-works (pusta).

Decorations

9. Decorations (lamar) are known to consist of fower- garlands, ornaments and drapery which are differently used on different parts of the [human] body.

Garlands

10. Garlands are of five kinds : encircling (vestita)!, spread- up (प्रवद), grouped (samghaya)?, ticd-round (granthima), and hung-down (pralambita),

Four kinds of ornament

11. Ornaments of the body are known by the wise to be of the four kinds : that to be fixed by piercing the limbs (@vedhya)?, that to be tied up (Landlhaniya), that tobe worn (praksepya), and that to be put round (a@ropya)?.

Piercing ornaments

12, [OE these, the ornaments] to be fixed by piercing the

limbs are ear-rings (//wn@ala) and other ear ornaments?. Tied-up ornaments

And those to be tied-up (Landhaniya) ave the girdles (#ront-

sutra) and the Angada (arm-band).

7(C.8; K.XX17). |} Vyajimah—vyijah stitrasyakarsikadiripah ksepas tena nivortto vyajimah (Ag. p. 430).

9 Read ‘7b as वेष्टते उव aga वैषमं a qdfaa:. Ag. (p. 430) explains vestimah as follows : upart jatu-srkstidina vestanena ntrortlo vestimal.

8 (C.9; M.XX1.8). 1 Emend nxagah into nigih.

9 (C.10; K.XXI.9).

10 (C.11; K.XX1.10). | ©, cestetam.

* K. tepitam for samghitya. Ag. with C.

11 (C.12; K.XXI.11). "€, dvedya,

१ K. aropyaka, ©. aropaka.

12 (C.18; K.XXI.12). 1 The reading of 12b seems to be slightly corrupt, .

412 THE NATYASASTRA [ XXIII, 18-

Worn ornaments 18. The ornaments to be worn (praksepya) are the anklets (n&ipura) as well as the wearing apparels. । Put-round ornaments And those fornaments] to be put round (@ropya) are the golden neck-chain (hemastuéra) and necklaces (kara) of different kinds. Ornaments according to habitation and tribal origin 14. Ishall now speak of the varictics of ornaments of men and women according to their habitation and tribal origin. Ornaments for males : Head ornaments 15, The crest-jewel (radamani)! and the crown (mukuta)® are called ornaments of the head. Far ornaments And the ear-ring (kwndila)®, Mocaka (car-pendant)* and ear-top (प्रद) are ornaments of the ears. Neck ornaments 16, The pearl-necklace (muktavali) the Harsakat and the (gold] thread (sda)? are ornaments of the neck. 13 (C.14; K.XX1.13). 14 (C.15; K,.X.XI.14), 15 (C.16; (रतया. 10). 1 To be worn on the top of the head. Ciulamanth iromadhye (Ag. p. 430). $ To be worn above the forehead. Mukuto lalatordhue (Ag. ८.८). ४ To be worn in the lower lobe of the car. Kendalam adhara- palyim (Ag. ८.८.) " 4To be worn in the hole in the middle of the car. Mocakah karnasaskulyis madhyacchidre uttara-karntkelt prasiddham (Ag. ९.८.). 16 (6.17; K.XX1.16). 1 Aarsaka—a snake-shaped ornament, samud- gata-sarpids rupataya prasiddham. (Ag. ८.८), * Sutram—golden neck-chain, stitrakam ttt guccha-grivi-sutradstaya prasiddham (Ag. é¢.), ग Katakah (vatrka, K.), Ag. (८.८) reads the term differently. He says vetikels suksmakataka-riipa. _.. + Anguli-mudra—In later times the two members of this compound word. (anguliya and mudri) gave rise to two different synonyms for the object (ring) denoted by it: ‘

-XXIII. 19 J THE COSTUMES AND MAKE-UP 418

Finger ornaments And the Kataka [Vatika]* and the finger-ring (anguliyas mudr@) are ornaments of the finger. Ornament of the forearm 17. The Hastavi® and the Valaya? are the ornaments of the fore-arm (bahu-nali). Wrist ornaments And the bracelet (rucika)* and the Uccitika*t are ornaments of the wrist. Ornaments above the elbow 18. The Keyira (armlet)? and the Angada (arm-band)? are ornaments to be worn above the elbow. : Breast ornaments And the three-stringed necklace (trisava)* is the ornament of the breast. 19. The suspended pearl necklace, the flower-garland and the like, are ornaments for the [entire] body. Waist ornaments And the Taralat and the golden thread (stra)? are vrnaments of the waist.

17 (6.18). ` This is seems to be very rarely mentioned in Skt. literature.

+ This word is the same as Bengali 62८ (bangle).

४ This seems to be a variant of the word rucaka. See note 4 below.

+ This word seems to be never met with elsewhere. Ag.’s frag- mentary gloss on this word or rucaka is as follows: # # cakra wt kara- golake witatiim tata tirdhve culiketi prasiddhau (}) niskuke agrabahu- sthane etat (wibhii)|-sanam (p. 430).

18(C.19, K.XX1I.17). 'To be worn above the elbow. Keyure karpara (kurpara)-syordhvatah (48.76), but he bahusirse yautt itt keytiram, Ksirasvamin on Amara II. 6,107.

* To be worn above the keytira. Tayor (=kevurayor) urdhve ty angadam (Ag. lc.).

® Trisara—trisaro muktalatitrayena (Ag. ८,८.).

19 (C.20; K.XXI.18). 4 To be worn below the navel ; ¢alraVakam nibher atah (Ag. 1.¢.) ,

१ To be worn below the ¢aradakg. Tasyapyadhah sidrakam (Ag. ८.८.)

414 THE NATYASASTRA [ XXIII. 20-

20. These are the ornaments for mules in case of the gods and the kings. I shall now speak about the ornaments for females.

Ornaments for females Head ornaments

21-22. The Sikhapaga?, the Sikhajala?, the Pindapatra® (Khandapatra), the Crest Jewel (cuidamani)*, the Makarika®, the pearl-net (mukta-jala)® the Gavaksa’ and the hair-net (§irsajala) are ornaments of the head.

, 22-23, The 'Tilaka on the forehead should be produced by many artistic touches, and group of design above the eyebrows should imitate flowers.

Ear ornaments

23-25. The ornaments of the ear are the Kundala, the Sikhipatrat (Khadgapatra), the braid [of hairs], the lotus? and the Mocaka® the Karnika*, the Karnavalaya5, the Patrakarnika®, the

20 (C.21; KX X1.19).

21-22 (C.22-23a; K.XX1.20-21a). | This is same as (दृद mentioned in Megha, IT. 2. ¢

५ Ag. (p. 431) reads it as ई 20620542 and explains this as migagran- thibhir upanibaddho madhyeharniki-sthiniyam, aud adds to explain pindi- bitra (=piwlapatra) as tasyatva dalasandhinataya citra-vacanime (?) vartulins patrind pinjipatrant. > See note 2 above.

५ The same as mentioned in 15 above.

5 Ag. reads this makarapatram.

9 This is the same word which occurs in Megha, 1. 64.

1 No head ornament with this name seems to occur anywhere else.

22-23 (C.24; K. X XII.21b-29a).

28-25 (C.23b, 25-26; K,X XII. 21a, 22b-24).

1 Ag. (1.c.) reads 8¢khGpatra and explains this as skhipatra mayura- picchakiro vicitravarna-mant-racitah.

> guccha, K. for kanja. C. ® Rocaka, 0, and dirakah K.

* This was never met with before.

५ This is perhaps the sames as mod. Bengali Aanbila<ekinbala< kannavalag< karnavalaya.

6 This was never met with before.

1 This ornament is still in use among women of backward classes.

-XXIII. 27 ] THE COSTUMES AND MAKE-UP 417

the various kinds of the Dantapatras® set with jewels and the Karnapiira®. The Tilaka and the Patralekha?° are ornaments of the cheeks??, Neck ornaments 26. The pearl-necklace, the snake-group (ryalu-paikti)?, the Maiijari®, the jewel-string® the jewel-nocklace* and the neck-chain (stitva)® are ornaments of the neck. 27. The necklace with two, three or four strings as well as a [gold] chain is the ornament of the neck?. Bes os ft le ee ee १ These were possibly made with ivory. 9 The well-known car ornament.

११ The same as patrabhanga (drawing decorative desizns with seented pigments).

11 (©, reads after this four additional and somewhat corrupt couplets (C,27b-31a) which may be tentatively translated a. follows: And the ériveni is to be known as the ornament of the breast. The two eyes are to be touched with collyrium, and the lips are also to be painted, The four front teeth (of the upper and the lower rows) are to have varying colours as well as whitness) When covered with artificial colours their beauty is enhanced. Pearl-like teeth of beautiful young women embellish their smile, and dyed with the colour of lotus petals they will be lovely, and when dyed with emerald colour the lips will attain the beauty of tender leaves. And their amorous look will constitute their charms

96 (C.81b-32a; K-XX1.25), 1 An ornament with the snake-motif ; see above 16 note 1. This was nover met with before.

2 Manjari—This was never met with before.

3 Ratnamilika—This is to be distinguished from ratnavali (sce note 4 below) which is a bigger necklace ; for the word malzki means a small mila.

4 Ratniivali—See note 3 above.

5 Sara (lit. thread) evidently means a thin thread-like necklace made of gold; ef. Aanakastitra in Pajicatantra I. (viyasa-dampati-kat ha).

97 (C.82b-33a). 1 K. omits this passage. The terms like dytsara (wrongly dodrasa), trisare (wrongly trivasa) and catii-sara (wrongly cattirasa) mean respectively necklaces with two, three and four strings,

%

416 THE NATYASASTRA { XXIII. 28

Breast ornaments 28. The necklaces with the most artistic work? are to be ornaments of the breasts, The jewelled net is the ornament of the breasts (or the hack)?,

Arm ornaments 29. The arm-band (angata)? and the bangles (valaya)? are ornaments of upper (lit. the root of the) arms. The Varjura® and the Svecchitika* are ornaments of the fore-arm. Finger ornaments 30. The Kataka?, the Kalagikha?, the Hastapatra®, the Supii- raka® and the ring (mudranguliyaka)> are ornaments of fingers. Hip ornaments 31, The Kajicit with a net of pearis, the Kulaka, Mekhala, the Ragana and the Kalapa are ornaments of the hip णय, 32. The Kajici is [a girdle] of one string, the Mekhala of eight, the Ragana of sixteen and the (Kalipa? of twenty. five strings,

28 (©, €8b-B4a; K.XX1.26), + ninii-ratnakréa (in K.) meaning made up of many jewels’. .

* Prstha-vibrsana (in K.) meaning ‘ornaments of the back’,

29 (C.34b-35a; K.XX128b, 28a). ' K’s reading is corrupt. See above 18 note 2.

* [४ is now-a-days called anania in Bengal. Kalidasa’s Yaksa (Megha, I. 2) had a kind of zalaya in his prakostha (fore-arm),

5 This seems to connected with the 647 etill in use among women of rural areas in Bengal.

4 Svecchitiké—This was not heard of before. ५

30 (C.85b-36a; K.XXL27b, 27a). 1 K. reads of 30a as दगा. katakam tathis syat patrapiirakam. Kataka is usually met with in the sense

of an ornament of the wrists. 2 This was never met with before. 9, This was never met with before. ‘There is however an ornament hasta-stitra (Apte). 4 This was not met with before,

81 (C.86be; K-XX1.29). 1K. reads 318 differently. All the orna- ments except Aulaka have been defined in 32 below. ट्छ scems to be a girdle of the special kind.

82 (0.87; K.XX180). 1 Kalapa seems* to have been used by Kalidasa in the sense of a necklace (Kymiara I. 42).

-XXIIL 40] THE COSTUMES AND MARKE-UP 417

33. The pearl necklace of the goddesses and the queens are

of thirtytwo, sixtyfour or one hundred and eight strings. Ornaments of the ankles

34. The Niipura, the Kinkini, the Jewel-net (ratunjala)! and the ringing Kataka are the ornaments on the ankles.

ॐ. The Padarpatra is the ornament of the shanks (jamgha) and the toe-rings that of the toes, and the Tilaka on the big toc are ornaments of the feet.

36. Similarly [an additional decoration of the feet] will be the lac-dye applied on them in various patterns to impart to them the natural colour of Agoka blossoms.

37. These are the decorations of women from the hair to nails [of the feet]!, Considering the States and the _ Sentiments these are to be applied {in different parts of the body]. 38. These ornaments (lit. works) having their origin in Vigvakarman? are to applied also after a consideration of the tradition (yam), measurements [of the wearer] and her physical form.

39. [In dramatic production] one is not entitled to decorate the limbs freely and at one’s will, with gold, pearls and jewels.

40, Utilised on account of wealth?, the jewelled orna- ments put on in proper places will lend beauty to the limbs?.

83 (८.88, K.XXI.31).

34 (C.39, K.XX1.32). 1 K. reads ghantika lalam eva ca.

2 Hollow bangles within which small stone bits aro lodged.

35 (C.40; K.XXI1.83). " ©, reads sanghayoh for padayoh.

2 This was never met with before. Ag. (p. 431) reads (द्वे ttt victtraracanitky ta.

36 (6.41). 1 This passage is wanting in K.

37 (C.42; K.XXI.84b, 84a). } Ag. (Ac) anakhid—alaktaka-riaa- paryantam.

58 (0.43; K.XX1.35). 1 Ag, (Z.c.) explains agama as upidanaka- ranam. 9 An authority of arts and erafts (82/4).

39 (0.44; K.XXI.37b-38a). 1 ए, reads ४०4 8akt yanusirena.

40 (C.45), 1 Read obhavato. , ४ K, omits this passage,

53

418 THE NATYASASTRA [ XXIII. 41-

41, But in the production of plays there should not be a use of too many ornaments ; for these by stiffening movements will cause fatigue [to actors and actresses],

42. Weighed down with heavy ornaments one cannot. move much, and one so weighed down, is likely to be exausted and to he faintaing.

48. Hence [in a dramatic production] there should be not used ornaments made of pure gold, but those made of lac and inlaid slightly with jewels, will not bring exaustion [to the wearers ina play].

44. The rules of decoration are optional’ in case of the celestial beings (gods and goddesses) ; but the decoration of human beings are to be made carefully,

45. The celelstial females are to he distinguished for their own roles by means of ornaments and Costumes suited to the various States.

46, Women of the Vidyadharas, the Yaksas, the Nagas, and the Apsarasas, and the daughters of sages and gods are to be distinguished by their Costumes.

47, The same role applies also to women of the Siddhas, the Gandharvas, the Raksasas, the Asuras, the godly monkeys, and human females.

48. The Vidyadhara women should be made to have hairs (sikha) tied in top-knot decorated with string of many pearls and clothes [completely] white’.

49. The Yaksa women and the Apsarasas should have

41 (C.46). 1 A very sensible warning. 42 (C.44). See above 41 note. 43 (C.48). 44 (0.49). } For gods are beautiful .by nature. 45 (C.50), + Read 45a as भूषणं पि वेदेसु नानावस्या समाययैः. 46 (C.51, K.XX1.42). 47 (0.52). ¬ Read dtvya-vinara-niirinam ; cf. 57 below. २ K, omits this passage. , 48 (0.58, K.XX1.44).2 K, reads cztra for 8uddha, ©, 49-(C.54, K.XX1,43),

XXIII. 56] THE COSTUMES AND MAKE-UP 419

ornaments of jewels, and the same will the dresses of [all] these, except that the Yaksa women are to wear the simple Sikha?.

7५. The Naga women are to wear like the goddesses? the ornaments abounding in pearls and jewels, but they are also have hoods? [in addition to these].

51. The daughters of sages are to wear a single Veni of the hair on their head, and they should not be made to have too much decoration.

; Siddha women

52. The Siddha women should have ornaments abound- ing in pearls and emeralds, and their dresses should be of yellow colour.

Gandharva women

583. Ornaments of the Gandharva women should be made to abound in rubies. And they are to carry a Vind in the hands and to have clothes of saffron colour,

Raksasa Women

54. The Raksasa women are to have saflires चः their ornaments, and their tecth are to be made white and the dresses of black colour.

Goddesses

95. The celestial women are to have lapis lazuli and the pearls as their ornaments, and their dresses are to be made green like [the colour of] the parrots tail.

Monkey females

56. The women of the [godly] monkeys are to have topaz? and [sometimes] Jepis [तदं as their ornaments, and their dresses are to be made of blue colour.

1 Read samas tvisim for samastiniun (IX). and yas tudsim (C.)

50 (6.४9, K.XXL38b). } K. omits 50a, ? Read phants tasam (K). 81 (0.56, K.XX1.39 and 45). + Read एकरद ४८६० vanocitah (K).'

52 (C57). 1 For the Siddha women see Megha I. 14.

58 (0.58). + Read Aurvit before padma-manr’.

54 (0.59), 55 (C.60).

56(C.61), ` Pusdaraga=pusparija, NIA. pokh-ras.

420 THE NATYASASTRA { XXII. 87

87. This should be the dress of celestial women in their love-making. But in other conditions their dresses are to be made white.

Human females according to their countries

58. Human females are to have dresses and ornaments

according to their places of origin. Listen properly about them. Women of Avanti and of Gauda

59. The young women of Avanti are to have curling hairs, and the women of Gauda are to have hairs mostly curled and they are to have the Sikhapaga and the Veni.

Abhira women

60. The Abhira women are to have two Venis on their head

which should be covered with a [piece of] deep blue cloth. Women of the North East

61. The women of the North East are to hold up their Sikhandas, and in dressing themselves they cover the body up to their hair.

Women of the South

62. The women of the South are to have Ullekhya with Kumbhipadaka, and Avarta on the forehead

63. Thus, dresses, ornaments, and huir-cutting etc. should be regulated for the remaining characters according to their habite- tion and birth.

Ornaments to be worn in the right place

64. An ornament not put on in its proper place will create

57 (C.62; K.XX1.40a, 46). | Read droyangana’ ca.

58 (C.63; K.XXI.47, 40a).

४9 (C.64; K.XX1.48), |} Probably the district of Malda and neigh- bouring regions in modern Bengal.

60 (0.65; K,XX1.49). 61 (C.66; K.XX1.50).

62 (C67; K.XXI.51). |! Ullekhya is probably connected with Bengali «ke (tatto),

? Possibly a special kind of tatto. 3 Some kind of circular mark.

63 (C.68b-60a; K.X X1.52), 1 K. omits 62a ©, adds one hemistich (©. 68a) before 62, which in trans. is follows: Courtezuns are to have the decoration [of the body] according to their choice,

_ 64 (C.69b-70a; K.XXL53), ४

-XXIIL. 72 J THE COSTUMES AND MAKE-UP 421

no beauty ; for by wearing a Mckhala (girdle) on the breast one will create laughter. Dresses to suit the condition of females 05, Similarly, the condition of females whose lover has gone abroad and who are afflicted with misery are to not to have a clean dress, and they are to wear their hair as a single Veni of the head.

66. The dresses of women who are separated from their lovers, should be white and they are not to wear many ornaments and not to cleanse their body?.

67. Such should be [the dresses] of women according to their habitation and the condition [of existence], Now I shall speak about the proper dresses of men.

Painting the limbs

68. But in their (ie. men’s) case the producers of plays should first of all paint the limbs, and then Costumes according to their habitation should be provided.

The four original colours

69. ‘The four original (lit. natural) colours are black, blue,

yellow and red ; the limbs should be painted with these. The derivative colours

70. There are besides these, the primary and the secondary derivative colours, I shall speak about. the ways in which the producers are to make them.

The primary derivative colours

71. The yellowish white (yan) colour is made up of the white and the yellow}, and the pegion (kapota) colour, of the white and the blue?.

72. The lotus (yada) colour is made up of the white and the red, and the green (harit) colour, of the yellow and the blue.

65 (C.70b-7la, K.XXI.54). 66 (C.71b-72a, K.XXI1.55), 1 na vagps hi nvta (=mrja) yuta, (K).

67 (C.72b-73a, K.XXI1.86). | Vega deSasamudbhava (ट).

68 (C.73, K.X 1.67), } €, omits 68b.

69 (K.XX1.58). 1 C. omits this passage.’

70 (K.XX1.59). | C. omits this passage.

71 (C.74a, K.XX1.60a, 618). | ©, sila for pita. = ° ©, omits, 71b. 72 (C.74-75a, K.XXI.60b-61b). »

423 THE NATYASASTRA [ XXI, 78.

73, The dark red (दद्‌) colour is made up of the blue and the red, and the pale-red (yaa) colour, of the red and the yellow.

74. These are the primary derivative colours, Besides these there are [many] secondary derivative colours which may be made up of three or four [original] colours.

The secondary derivative colours

75. Of these, the strong colour should form one part and the weak colour two parts ; but the blue colour should be taken as directed below.

26 ‘The blue should form only one part while the other colours will form three parts, for the blue is known to be the strongest of colours.

77. Knowing these rules of colours which are to be pre- pared by mixing them variously’, one should paint the body of different characters.

78. The painted body together with the change of the Costume is to, be considered as duc to the convention (nadyu- dharma) affecting the /ramuatis personae.

79-80, Just as {the soul of}a man on entering the body of another being, renounces his own nature connected with a different body and assumes another character’, so a person haying (lit. covered with) [a different] colone and Costume adopts the behaviour connected with the clothes he will wear,

Living beings . 81. As they have breath, the gods, the Danavas,— the Gandhurvas, the Yaksas, the Rakgasus and the Pannagas (Niigas) are called living beings (pranin)?.

73 (C.75b-76a, K.XX1.62). 74 (C.76b-77a, K.X X1.63). 75 (C.77b-78a, K.XXI.64). 76 (C.78b-79a, K.XXI.65). 77 (C.79b-80a, K.XX1.66), ' zanasamyoga(C) for manasamyoga( i). 78 (C.80b-8la, K.XX1.67) 1" €, reads atter this an additional couplet. 79-80 (C.82b-83a, K.XX1.65), | Read parabhavan lov parabhavan'. 81 (C.84b-85a, K.XXI.70). 3 ©, reads an additional couplet after this,

-XXIII. 89] ` THE COSTUMES AND MAKE-UP 423

Lifeless objects 82. Hills, palaces, mechanical contrivances (yutre), shiclds, armours, banner-staffs and the various weapons are known as lifeless objects (apranin)3, । Lifeless objects in human form 83. But whenever necessary (lit. due to a reason) they may assume a human form with [suitable] dress and speech according to ihe dramatie convention (utitya-ndharmay). Painting the limbs 84. After learning the rule of making colours one should paint the limbs fof the /ramatis persovar]in keeping with ‘their habitation, birth and age. Colours for gods पि, Gods as well as the Vaksas and the Apsarasas should be painted reddish yellow (yaura), and Rudra, Arka (the Sun) Druhina (Brahman) and Skanda are to have the colour of gold. 86, Soma (the Moon), Brhaspati. Sukra, Varuna and the stars, the ocean, the Himalaya, and Gangt (the Ganges) are to he made white in colour.

87. Angaraka [Mafgala = Mars] should be painted red and Sudha and Hutagana (Agni) yellow and Narayaha and Nara as well as Vasuki should be dark blue (aa).

Colour for demi-gods 88, The Daityas, the Danavas, the Raksasas, the Guhyakas, the Pigieas, gods of hills, and the sky are dark blue in colour,

80. The Yaksas, the Gandharvas, the Bhiitas, the Pannagas (Nagas), the Vidyadharas, the Pitrs and the monkeye are of various colours.

82 (C.86b-87a; K.XXI.71). 1 Read asuifar:.

83 (C.87b-88a; 1. 1.72). 84 (C.88b-89a, K.XXI.73).

85 (C,89b-90a;, K.XXUL74). | Real rudrirkadruhina (K.) णिः rudrah sadruhinah (C.). .

86 (C.90b-91a; K.XX1.75). 87 (C'.91b-92a, K.XX1.76).

88 (C.92b-98a; K.XXI.77). 1 Presiding deity of hills (Ag.).

89 (C.93b-64a; K.X.XJ.78). : 90 (C.94b-95a, K.XXI.79).

494 THR NATYASASTRA [ XXIII. 90.

Colours for human beings in different regions 9). Human beings who dwell on the Seven Continents (saptaednipa) are to he painted in the colour of burnished gold,

01. But among the inhabitants of Jambudvipa where men of yarions colours live, every one except those who dwell in the North Kuru region should he given the colour of gold.

9. People of Bhadraéva? should have the white colour of their body, and so should these of Ketumala. But those of other Jontinents should be made reddish yellow (पकप) in colour.

Colours for Bhtitas and dwarfs

08. Bhiitas and the dwarfs are known to he of various colours. They possess odd faces and may have faces of boars, rams, buffaloes and deer as well!.

Colours of different peoples of Bharata-varsa

94, Listen now about the difierent colours of the people of Bhiratavarsa, Kings there should he of lotus colour, ov dark hlue or reddish yellow [in complexion}.

95-96. And the happy mortals there are to he made of the reddish yellow (काक) colour. Those who practice vile acts, are possessed of evil spirits, diseased or engaged in penance and 10 not perform sacrifices (yj) and are of inferior birth, should be made brown (ail, lit. not fair), And the sages should always be given the colour of plum (लत). And such should be the colour of sages observing penance (tapas),

97. But out ot any necessity and not according to one’s pleasure, colours of persons may be varied according to the habita- tion, birth and age.

9s. An expert in jdramatie| production should paint persons after knowing their, place {of action] and time of action, birth and the region of the-earth they dwell in.

91 (C.95b-96a; K.XX1.80). 92 (C.96b-97a ;|K.XXI.81), 1 Read dhadrigvah.

93 (C.97b-98a ;K.XX1.82), ' K. reads this differently.

94 (C.98b-99a; K.XXI.83). | padmavarnah for pahcavarnah. 95-96 (C.99b; K.XXI.84-86a). 1 €. omits 95b-96,

97 (€.100; K.XX1.86-87a). 98 (C.101; KXX1.87b-88a),

-XXITI. 100] THE COSTUMES AND MAKE-UP 425

Colours of different tribes

99, Kiratas?, Barbarians? (barbara), Andhras?, Dramilas,*# Kasis®, Kosalas®, Pulindas’ and the inhabitants of the South (daksinatya)® are mostly known to be brown (asita lit. not white).

100. Sakast, Yavanas*, Pahravas (Palhavas)? and Vahlikas (Bahlikas)* who dwell in the North should be made almost reddish yellow (१7),

99 (C.102, K.XXI.88b-89a). 1 Colours mentioned in this and the following passages probably show that the groups alloted a special colour are approximately of the same complexion and not actually of the colour mentioned, These passages seem to give a valuable information about some ethnological features of ancient India. Pre-Aryan people including the Dravidians CAndhras and Dramilas) were not fair in complexion. ‘The separate mention of the Southerners after Andhras and Dramilas (Dravidas) taken along with some Northern tribes like the Kasis and Kosalas, seen to show that the NS, here records the tradition of their once living in the North. Kirata—a hill tribe probably living in the Himalayan region ; see Mbh. XII, 207, 43.

* Barbara—Some none-Aryan tribe mentioned very rarely in Skt. literature (Mbh. XII. 207, 43). This may be a synonym of Mlecccha as well.

$ Andhra—This tribe is well-known in history and literatura,

4 Dramila~Known in Pali (Mahavamsa) as Damila (modern Tamil).

5 Kasi—The tribe after which the ancient kingdom of Kasi and the city of that name was known.

५ Kosala—The tribe giving name to the ancient kingdom of Kosala.

7 Pulinda—An aboriginal people living probably in the Vindhya region. See Mallinatha on Raghu, XVI. 32; also Panha 1. 1. and Naya I. 1.

४ They inay be members of Kol and other tribes living in the South.

100 (C.103; K.X.XI19b-90a). 1 Saka—Hoards of nomadic tribes from Central Asia who descended on the Indian plains in about 200 B,C. ; mentioned in Manu 10, 44.

2 Yavana—Probably the same as Yona in Agoka’s edicts. They seem to have been Perso-Grecks and their descendants,

3 Pahrava (Pahlavn)—Usually taken to mean Parthians wko annexed the Western Punjab in about 140 A. C.

4 Vahlika (Bihlika)—Inhabitants of the region known as Balkh.

5 Read उस्रां पिमं चितम्‌ (suet पश्चिमां feng, K. उत्तरं ये faa दिथम्‌ ¢). The tribes mentioned here came to from their home in the North-West,

54 +

496 THE NATYASASTRA { XXMI. 10)

101. Paicalas?, Siivasenas?, Udhras®, Magadhas‘, Angas’, Vahgas® and Kalidgas? should be made dark or deep blue ya.) in complexion,

Colours of differen castes

102, Brahmins and Ksatriyas should be always made red (or reddish yellow)? and Vaigyas and Siidras dark or deep blue (sy@ma) in complexion®.

Rules for the beard

103. After painting the face and other limbs one should provide beards to persons after considering their habitation, activity and age,

104, The beard according to the change of States of persons should he of four kinds : shaven (क), black (yama)? smartly done (ricitra)? and bushy (101, lit. hairy)*.

rs

101 (C104; K.XXI. 90b-91a), } [लोर tribe is well-known in Mbh,

2 Stiragona—The tribe which once settled around Mathura. It gavo its name to the principal Pkt. of the Indian drama (Sauraseni).

° Udhra (Udra)—The name of a tribe alter which the modern Orissa (Odrivisaya) has been named. Sco Manu. 10; 44,

+ Magadha—The tribe after which the ancient conntry of Magadha was named,

5 Anga—The tribe after which the ancient country of Aga was named. .

6 Vatga—The tribe after which the ancient Vatga (South-Hast Bengal) was named.

102 (0.10; K.XXI91b-02a). 1 Red (rata, C) or reddish yellow colour (gazra, K) assigned to Brahmins and Ksatriyas probably show that at one time when the various theatrical conventions cystalised, these two scetions of the society still retained their original Indo-Iranian physical features ono of which was certainly the colour of their skin. The dark colour of the Vaisyas and Siidras similarly shows in’all likelihood. that these were not Aryans or Aryans of the pure type. * See note 1 above:

103 (C.106; K.XXI1.92b-93a).

104 (C.107; K.XXI.93b-940), । Suddha (Sukla, C.)~clean-shaven, Rsurena sarvadé vasttam, always treated with razor (Ag.).

2 Syiima—ordinarily black in colour ; but see above.

3 Vieitra—eut or done in special fashion, Ag. 438) on this point says: fafesfa(falgeandl कर्मण उत्‌पादनकर्मणा च रचित.तं) fafeaefaay. The reading-though evidently corrupt seems to give the meaning suggested.

+ Romasa—bushy, romasam ttt yathotpannam (Ag. 1c), ‘bushy

XXII. 111] THE COSTUMES AND MAKE-UP 497

105. The beards of religious mendicants (linyi)? ministers, priests and persons who are indifferent to sensual pleasure? or have consecrated themselves for any ritual® should be made [लल्षा] shaven.

106-107. The beards of celestial males such as the Siddhas? and the Vidyadharas?, kings, princes, officers of the king and persons who are foppish and proud of their youth*, should be made smartly done (vicitra) by the producere of plays.

108. The beard of persons who could not fulfil their pro- mises, are sorry and miserable on that account or have been struck with any calamity, should be made black (syama).

109, The beard of sages, ascetics and persons observing a long-standing vow, and of those who are bent on revenge? should he made bushy (omasa).

Rules for different Costumes

110. Thus the beard should be made of different kinds, I shall now speak of costumes suited to different occasions '.

111. Drapery suited to different ways of painting limhst may be of many kinds ; but generally it is of three varieties : White, red and variegated (ricitia)*,

means as they are naturally grown’. The last three classes do not seem to be mutually exclusive,

105 (C108; K.94b,96a). ¬ दद ्ह्मचारिवानप्रस्यादौनां मध्यया यै ष aH यै fret समागता प्रयवः (Ag, p.433-434)s

2 Madhyastha—wearen इति नोततमानामधमानाम्‌ wae: (Ag, p.434).

° It is even now the custom among some Hindus is that they shave themselves clean before consccrating themsclves for some special kind of datva and pattra rites,

106-107 (C.109-110; K.96b-98a), 7 A class of demigods. See Kumira. 1,5. > A class of demigods. Sce Bhartyhari’s Vair. Sat. 24.

3 Ag. says यौवनोग्मादिन शलमाल-पुरोधसोऽपीति भावः (p. 434).

108 (C.111; K.XXI 95).

109 (C.112; K.XXI. 98b-99a). 1 ©, reads 109b as सिहविदयाधराणां च Tang विधौयते which seems to be wrong. Sce above 106 where Siddhas and Vidyadharas have been taken as clean shaven.

110 (C.113; K.99b-100a). } ©. repeats here 10.

111 (C.115). 7 See above 85ff. ४ K. omits this.

498 THE NATYASASTRA { XXII, 119.

112. Costumes are of three kinds : white, variegated and soiled (malina). I shall now explain their difference according to their use by producers.

113-114, In going to the temple of gods, observing some auspicious rite or a vow or atthe conjunction of some Tithis and stars (naksatra) or at the time of marriage? or any other sacra- mental rite, men and women should have white costumes and the same is the rule for a trader (prapanika)® .

115. Costumes of gods, the Danavas, the Yaksas, the Gandharvas, the Nagas, the Raksasas, kings, and people of foppish nature? should be variegated (citra = vicitra).

116-117. Costumes of Kajicukins (armour-bearer), ministers, leaders of army, priests, the Siddhas, the Vidyadharas, merchants, adepts in Sastras, Brahmins, Keatriyas, Vaigyas धात kings’ officers (stha@wiya)* should be made white in a dramatic production.

118. Costumes of lunatics, intoxicated persons, wayfarers and persons struck with calamity should be made soiled (maline).?

119, Costumes and decorations of the sages, the Juin (Nirgrantha) and the Buddhist (Sakya) monks, the Tridandis? and Brahmins well-versed in the Vedas (érotriya) should be made according to their respective sectarian rules.

120, Costumes of the wandering ascetics (parirra), great sages and other ascetics should be made, whenever necessary, with dark red (hasaya) cloth?.

112 (C.116; K.XXI. 100b-101a).

113-114 (6.117.118 ; K.XX1. 10.b-102a). ' K. omits. 118. Ag. (p.434) explain Suddha as गृह्वस्तादिप्रायः,.

9 Pripaniki (C. pragatniha, K. prayal®, prayal®) sce Magh. 1४. 11.

115 (C.119; K.102b-103a). = Emend Aarkaga’ into (काण,

116-117 (C.120-121; K.103b-]05a). ' They were possibly inferior in rank to pradesikas of Agoka, See BM. Barua, Inscriptions of Asoka Pt. 11, Caleutta, 1943, p.242, 118 (C.122; ए. श 1050-1069. " K. reads after this three more hemistichs (106b-107)-

119 (C.123: K.XX1.108). 1 4 sannyasin who carries three staves tied together and has control over his mind, speech and body. See Manu 12,°10, (Ref. Apte). Vor éridam)i-8rotriyesu, K. reads gat pidupatesu (members of the Pagupata sect... ` 120 ((,124), ? K. omits this.

XXIIL 128] 0? COSTUMES AND MAKE-UP 499

121-122, To the Pasupatas should be given a veriegated dress, and costumes of persons of high family should be made according to their position. Besides this the ascetics are sometimes to have the bark of trees and the [animal] skin as their clothing,

122-123. To persons engaged in guarding the harem should be given armour and clothes of dark red (h@saye) colour. The same should be the dresses of females when they attain special conditions.

124, Costumes of the warriors should be suitable for fighting a battle, and they are to be provided with brilliant weapons, armours, quivers? and bows

125. Kings should always be made to have a many. coloured dress ; but when due to ominous appearance of any sta (naksatvotpata)* they are engaged in any propitiatory rite their costumes should be white.

126. Thus should be made the dresses of persons (lit. types men and women) of the superior, the middling मात्‌ the inferior classes according to their age, birth and other conditions (lit. qualities).

127. These are the rules of costumes in a dramatic produc tion according as persons attain different conditions, and practice good or bad deeds.

Use of masks

128. Similarly different masks (pra{iira)! are to be used

for gods and men according to their habitation, birth and age.

121-122 (C.125, 1271; 1९.५९1 110b,109).

129-123 (C.126, 127b; K.XXI. 109b-110a, 111).

124 (C.128; K.XXT-H1b-112a). 1 C. baddhatrina for baddhatina,

125 (C129; [९.९ ९1.1190-1199). ) नदोनुपतप्रगमनाधे wage, Ag. (p, 414).

126 (C.130; K.XXI-118b-1 | 4a).

127 (G.181; K-X.XJ.1 L4b-L Loa).

126 (C.132; K.XXI-115b-116a). 1" Pkt. padtsisaa=Skt. bratisirsaka (Karp I.). It is not laid down anywhere whether masks are to be used in all types of plays and for all characters. [or a discussion on this see the Introduction. .

430 THE NATYASASTRA { XXII, 199

Three kinds of crown

129. [In the masks] crowns for the gods and kings are of three knds: Parsvagata (= Pargvamauli), Mastaki and Kirit.2

130. For the gods [in general], the Gandharvas, the Yaksax, the Pannagas (Nagas) and the Rakgasas the crowns of the Pargya- mauli (Pargvagata) type have been prescribed?.

131. And the Kiriti crown has been prescribed for the superior gods, and the middling gods are to have crown of the Mauli (= Mastaki?) type, while the common (lit. inferior) gods are to have crowns of the Parsvamauli? type.

182-133. The kings should be given crowns of the Mastaki type. While the Vidyadharas, the Siddhas and Caranast should he provided with crowns made up of locks of hairs (heSa-mukuta),

153-134, The masks of ministers, Kaitcukins (armour bearer), leaders of the merchants’ guild, कात्‌ priests should he furnished with turbans',

134-135, And the masks of the army-leaders (senajuati) and the crown-prince should be combined with a small crown (ardha-nadadte, lit. half-crown).

135 136. As forthe rest [of persons] the head [in the mask] should he treated in. dramatic production in relation to their habitation, birth and age.

136-137. The heads of boys should be adorned with the Sikhanda* and that of the sages should have a crown of matted hair (jala@-mntata).

129 (C.183a; K.XXI.116b-117a). ' ©, omits 129b.

130 (K.XXL.117b-118a). 1 ©, omits 130,

131 (C.133b; K.XX1.118b-119a). । त, Sirsamaude

182-133 (C.134, 145 138; K.XXL119b-120). 1 K. vanaranam. Ciranas are demigods who sing the praise of superior gods. ©, reads after this five more hemistichs.

133-184 (C.138b-139a; K-K.XX1.123), } Read vestite-baddha- pattan: (6, vestanam baddha-pattid:, K, vestita-baddha-baddhant), 184-135 (C.139b-140; K.X X1,122).

135-136 (C141; K.XX1127). 136-137 (C.142; K.XX1125). |) Read Sirah sskhanda-bhisitam

` _दश्ा. 145 ] THE COSTUMES AND MAKE-UP 431

137-188. The masks of the Raksasas, the Danavas and the Yaksas" should be furnished with brown hairs and twany beards.

138-139. The masks of the Pisicas, lunatics, the Bhiitas, gpiritual aspirants, ascetics and those who have not yet fulfilled their vows should have long hairs.

Rules of different hairs

139-141, The head [in the mask] of the Buddhists monks (aya), experts in Vedic studies (६/५), the Jain monks (Nir grantha), wandering ascetics and those who have consecrated them- selves for a ceremony should be shaven clean, And according to their [respective] sectarian doctrine (rita) the remaining ascetics should have their heads shaven or should have curling hairs or long hairs loosely hanging down.

141-142. Married women, officers of the king and कोलो of foppish nature should have on their head curling hairs.

142-143. The menials should have three Sikhiis on their head or will have the head clean shaven. And the Jester should have a bald head or head with the Kakapada (lit, erow's foot).

143-14, Thus alter carefully distinguishing these [persons] in different ways, their conditions and nature should be represented by means of ornaments, different costumes and garlands, for giving rise to [proper] Sentiments at the time of production [of a play].

145. After men and women have been treated like this (lit. made to attain these treatments), their limbs will haye to be painted to suit their different roles.

(र, Siras tristkha-bhisilam; ©, na ६1041122). Sikhanda means looks of hair left on the sides of the head. These are three or five in case of the Ksatriyas (vide Apte 5.४.)

137-138 (0.143; K.XXI.121). 1 Real rakso-dinava-yaksanim (C. °dinava-datlyanim, K. devadanava’),

138-139 (60.144; K.XXI.124),

139-141 (C,145-146). 141-142 (C.147).

142-143 (0.148; K.XX1.126). | For Aakapada sco Apte 5.2.

143-144 (C.149, 150a), 145 (C.150b-15 La).

439 THE NATYASASTRA [ ग्ना, 146.

The Sajijiva

146. Now [shall speak of the characteristics of what is known as Snijiva(=living object). ‘The entrance of animals {in the stage] is called Saijivat.

147-118, The animals may be fourfooted, two-footed and with no foot (apada), OF these, serpents are without foot, birds and men are two-footed, and different animals in the forest or human settlements are known to be fourfooted.

Use of weapons

148-149, In fight, angry conflict (semphede) or siege in a play they (people) are to be furnished with different weapons,

149-150, Weapons and armours should be proportionate to the stature of men. T shall now describe them together with the rules for their measurement.

1241151. The Bhindi should measure twelve Talas, the Kunta (javelin) ten and the Sataghni, the Sila (spike), the Tomara and the Sakti eight?

151-152. The bow should measure cight Talas and its width should be two cubits. Arrows, mace and the Vajra should be four Talas long.

162-153. The sword should measure forty Afgulis and the dise (rakra) twelye and the Prasa the latter's half.

146 ((.151b-152a; K.XX1128), ' This scems to show clearly that sometimes living animals were brought on the stage, This was however not the the general rule. Sce Ns, ता, 106-107,

“1476148 (C,159b-193; K.XX1129-130a).

148-149 (C.154; K. 130b-13la), 1 (८ means the different types of

characters mentioned before.

2 On this point Ag. (p434) says: नानाप्रहरणोपेता इति यु्लोपथोगिन दयधैः | तथा च नानाम्प दत्ते सपाक्तति प्रदनौया एव गृषिडाम्बं तदाक्षतिरिलादि दशयति,

149-150 (C.158; K.XX1.131b-182a).

150-151 (U.156; K.XXI.132b-133a). ‘For the measurement of Tala sce Ns. III. 21 note.

151-152 (C.157; K.XXI.183b-13-4a). 152-183 (C.158; KxXXI,134b-135a),

-XXIIL 161 J THE COSTUMES AND MAKB-UP 433

153-154. The Pattita will measure like the Prasa, and the rod (dund*) should measure twenty Angulis while the Kampana (Kanapa) will be of the same measure.

154-155, The shield (curma) should be sixteen Angulis in width and two cubits in length, and it should have Valyas (hairs 2) and hells attached to it. The Khetaka (rider’s shield) should he thirty aiigulis in width [and two cubits in length]',

Use of other objects

156-157. The Jarjara?, the Dandakastha®, masks, um- [पुकः chowris, banner-staffs, and water-jars (bhynyara)? and every other thing that men make use of, are [also] to be utilised in the production of a play.

158, The characteristics of all. these haye heen mentioned hy those to whose sphere they belong. Now T shall speak of the characteristics of the Jarjara and the Dandakastha?,

Indva’s Banner-staff

159, Trees planted under the Pusya asterism, on the white soil have been made eligible for [वाद banner-staff’ by Visvakarman?.

The Jarjara

160. Some of these trees should be [fashioned into] the Jarjara by a carpentere The branch of a tree may also be {fashioned into] the Jarjarat.

161. But the bamboo will be most suitable [for this kind of work] and its length should be one hundred and eight Angulis (44 cubit),

158-154 (C.159; K.X.X1.135b-136a).

154-155 (C.160; K.XXI.136b), = ' K. omits 154b,

156-157 (C.161b-163a; K.XXL137b-139a). ' See NS. ILL 780

2 8९९ NS, I. 58-61 note 2. 3 Seo NS 1. 58-61.

158 (C,163b-164a; K.XXI.139b). ग Emend dantakistha into danda- hastha,

159 (C.164b-l65a; K.XX1142), | feraana बहुभेदं मरेन qqaqny wa; (Ay, p.434).. :

160 (C.165b-166a; K.XXL140b-I41a). 1 See above 157-157 note 1

161 (C.166b-167a; > 11410, 1488),

9

434 THE NATYASASTRA [ XXIII. 160.

162. It should have five sections and four joints. But its joints should not be very prominent (lit. thick), and it should not have any branch and should not be worm-eaten.

162-164. One should select (lit. take) as the Jarjara a piece of bamboo which is not worm-eaten or inferior to any other piece, after smearing it with honey and ghee and worshipping it regularly with garlands and incense.

164-165. The ceremonies and their order? which have been prescribed for [the consecration of| Indra’s banner-staff should he observed also in case of the holy bamboo for converting it into the Jarjara.

165-166. It may have long and short sections (prrra), And if after cach of these sections a ring [appears] it is called the holy bamboo'.

166-167, This is the rule in connexion with the characteris. ties of the Jarjara. T shall hereafter speak of that of the Dandakastha.

The Dandakastha

167-168, The Dandakastha* should always be made of the Bilva or the Kapittha tree or the bamboo. It should be curved? and have three bents and should have [good] characteristics,

168-169. That whichis neither worm-eaten nor diseased and has small (lit. poor) branches, is called the Dandakastha.

169-170. He who will get fashioned the धपु and the Dandakistha devoid of the said characteristics, will certainly sustain a great loss,

162 (C.167b-168a; K.XXI.143b-144a), 163-164 (C.168b-169; K.XXI.144b-143), 164-165 (C.170; K.XXL146).} Sco NS, ILL. 73-754,

165-166 (C.171; K.XX1.147). 1 Tho reading of K, is corrupt. 166-167 (C.172; K.XX1.148),

167-168 (C.173; K.XXI.149).! See NS, 1, 58-61 note 2 १ Vakram, K.

168-169 (C,174; K.XXI.150), 1 Mandasikham, K, mandasalam, C. 169-170 (C175; K.XX1151).

-XXIH. 178] | THE COSTUMES AND MAKE-UP 496

The making of masks

170-171 Similarly one should prepare the Pati of the masks which will have their special measurements or will measure thirtytwo Afgulis*.

171-173. The Pati should be made by using the Bilva- paste on cloth. Masks should be made with ashes or husks of paddy being mixed up with the Bilva-paste or some watery form of it, after covering these with cloth smeared with the thick Bilva-paste?,

173-174, The Pati made out of cloth smeared with the Bilva-paste should neither be made too thick nor too thin and neither should it be made too soft.

174-175. After getting it (the Pati) dried up by fire or the sun one should pierce holes in it according to the rule, by means of a sharp instrament, and these holes should be made after dividing it into two [equal] halves.

176. In the Pati so prepared an opening six एणाः long and an Anguli wide should be made in the form of the [गिल head, and it should have [two] angles [at the two end].

177. Then [a pair of] openings two Angulis long and one and a half a Atguli? wide should be made for the checks, and after (this has been done for] the checks [another opening] three Abgulis more (in length] are be made for the ears.

178. The opening for the ear being three Adgulis? long the same should be the length for the opening of the mouth,

—_— ae ete en Me 2) Cae ees eo, i Se et

„ 470-171 (C.176; K-XX1159), + We follow C. Ag. seoms to read sirsalotbhagartham for sitsarndhanirtham and he explains it as Wefan शति हिरा वियिरा इत्यादि emits यव at fanfic oF नाच्छा fimsat प्रत, प्रतिबा(प)द प्तिषलारेष एव कलः (p, 485).

171-173 (C.177-178); K:XX1153-154). 1 This passage seems to be corrupt The trans. is tentative.

173-174 (C.179; K.XXI.155).

174-175 (C.180-181a; K.XXI.156-157a),

176 (C,181b-182a; K.XXJ.157b-158a).

177 (C,182b-183a; K.X X1.158b-159a). 1 Read adhyardham,

178 (C,183b-184a; K.XX1.150b-160a), 1 éryaigulam|C. aigulam, K,

436 : THE NATYASASTRA { XXII. 179.

and the symmetrical neck (avaéu)? should be made twelye Angulis long.

179-180. So much about the rules for the cutting openings in the Pati for the mask. Various forms of crowns set with different kinds of jewels are to be set on them,

Other accessories

180-181. And at the production of a play (lit. here) one should use differently in relation to dramatis personae many kinds of accessories (upakarana) demanded by the art of theatre:

181-182. Now, all the manufactures or crafts that are executed in this world including moving and immobile objects, are to be known as the accessories in [a performance},

182-183. [And to obtain them] one is to go to persons on whose special knowledge (lit. in whom) they depend. For [obtaining] such accessories in a dramatic production inen have no other means.

183-184. The measurement and description of an object depend on a person who is [professionally] to make it or to devise it through his [special] art.

184-185. Large objects which require much iron are not favoured by us on the stage; for their heaviness creates fatigue [in actors].

185-186. Imitation of any object which exists [ this world full of living beings, in different varieties may be included in the accessories (to be used] in the performance of a drama.

186-187. But palaces, houses and vehicles though these are accessories [for the performance] cannot be produced for the stage realistically (lit. in due manner).

9 Tatas caivivatuh for tata’ ca viwaluh, ©, tatas ca visyais, K, 179-180 (C.184b-185; K.XX1.160b-161).

180-121 (C.186; K.X XI.162). 181-182 (C.187; KX X1.163). 192-183 (C.188; K.XX1.164). 188-184 (C.189; K.XXJ.165). 184-185 (C-190; K.XX1.166.. 185-186 (C.191; K.XX1167). 186-187 (C.192; K.XX1.168). 187-188 (C.193; K.X.X1.169).

XXIII. 196 ] THE COSTUMES AND MAKE-UP 437

The realistic and conventional objects

187-188. Some accessories [however] will be realistic (lukadharmi), while others will be conventional (na¢yadharmi), Any thing following its natural form is called realistic while any deviation from the same will be known as conventional.

188-189. Accessories for use on the stage should not be made with stone as well as iron and other metals, for these due to their heaviness will create fatigue [in actors},

189-190. Light objects should be made with lac, wood, leather, cloth, leaves [of trees] and sliced bamboo, for their use as accessories in a dramatic production.

190-192, Skeleton frames of armours, shields, banner-stafts, hills, palaces, gods, caves, horses, elephants, aerial cars, and houses should first be made with pieces of लन्‌ bamboo and then by covering such frames with painted cloth, likenesses of such objects are to be produced.

192-193. Butif it is not found possible to use cloth suitably for this purpose then palurproductst and mats (पेन may also be used instead.

193-194 Similarly weapons are to be made with grass and pees of sliced bamboo, and with Iae and Bhenda (Bhanda)? other objects should he represented.

194-195. Tiitation legs, heads and skin should be made with grass, mat and Bhenda (द्मा).

195-193. Various articles should [thus] be made with earth in imitation of their proper forms,

196-197, Various hills and shields, armours, banner-staffs

188-189 (C.104; K.XXJ.170). 189-190 (C 195; K.XXI.171).

190-192 (K.XXI.172-173 .

192-193 (C.196; K.XXI.174). | Taliyatr iti talapatrath (Ag. p.435), * Read €) for kilajatr,

193-194 (C.197; K.XXI.175). 1 Bhenda K, 00/47 C. भाखे (पेठ) रिचलाबुदल-खष्गादिमिः (Ag. p. 435).

194-195 (C.198; K.XXJ.176). 195-196 (C.199; K.XXJ.177),

196-197 (C.200; K.K.XX1.178a). , .

.

498 THE NATYASASTRA { डद. 197.

are to be made with Bhenda (Bhanda), cloth, bees-wax, lac and sheets of mica.

197-198. And fruits and flowers growing 10 various

regiony and the various vessels should be made with lac. Making of ornaments

198-200. Ornaments should be made with Bhenda (Bhinda), cloth, bees-wax thin copper sheets and mica sheets of blue as well as other colours, and their basis should be polished copper (sheets).

200-201, The different kinds of crowns of which I spoke before, should be made dazzling with pieces of mica [set on them, so that they may shine like jewels.

201-202, Tn cases of [all] these objects instructions given in the Sastras {for their making] have not been mentioned. Here one must act according to the directions of the Acirya and he guided by relevant reasoning.

202-203. This is the rule of action regarding the future mortals, (that should be adopted in dramatic production). Because want of sufficient strength will occur in men {of the future generation |,

203-204. Mortals of poor strength should not make any [undue] physical exertion, and hence it is not desirable that their crowns or ornaments should be made with gold and jewels.

204-205. For in battle, personal combat, dance and casting glances a persons burdened with heavy weight will feel fatigue and may even faint

205-206. When the actor is overcome with pain or fatigue or is fainting his performance is spoilt, One may even endan- ger his life by making movements with difficulty under such conditions.

197-198 (C201; Cf. K.XXL178b!

198-200 (C.202-203; K.XXI.179-180), 200-201 (C.204; KXXL181). 201-202 (C.204; K.XX1.182). 202-203 (C.296; K.XXI.183). 203-204 (C.277; K.XX1.184), 204-205 (C.208; K.XXI-185a). +205-206 (C209; K.XX1.185-186),

XXIII. 311 ] THE COSTUMES AND MAKE-UP 439

906-207. Hence ornaments are to ba made with thin sheets of copper, coloured sheets of mica, Bhenda (Bhanda) and becs-wax?.

207-208 Thus by following the popular practice or exercising one’s own discretion one is to make properly theatrical accessories.

Use of weapons on the stage

208-209. No missile should be released on the stage and no weapon should pierce or strike anyone, They should simply touch a spot, and the weapons are to be used only to make a gesture [of an attack]*. ;

209-210. One should release missiles on the stage with skill or with skill and cleverness [so that they do not hurt}?

210-211, Any [relevant] instruction which IT may have omilted regarding the present topie, is to he gathered from the popular usage (lit. people). ‘This is all about the Extraneous tepresentation that 1 was to tell you. L shall hereafter speak of the Basie Representation on the stage (samanyayabhinaya).

Here ends chapter XXIII of Bharata’s Natyasastra, which treats of the Extrancous Representation.

206-207 (C.210a ५11४; K.XXI1.186b-187a). 1 We follow K,

207-208 (C.211b-212a, K.XXI_.187b-188a).

208-209 (C.112b-213a; KX X1189b-189a), | We follow K.

209-210 (C.213b-214a; K.XXI.189b-190a), 1 €. reads additional hemistich after this.

210-211 (C.2140-215; K.XXT 190b-191),

CHAPTER TWENTYFOUR. THE BASIC REPRESENTATION Importance of Temperament

1, The Basie Representation (samanybhinaya)! is known to depend on the Words, Gestures and ‘Temperament (sattri), {Among these] one should take special care about Temperament,? for the dramatic production has this as its basis.

2. The Histrionic Representation with an exuberant Tem- perament (suttvatir/ta) is superior, the one with the level Temperu- ment (samasattya) is middling, and that with no [exercise of Temperament ix inferior,

The definition of Temperament :

3. Temperament (satfra) is something invisible, but it gives support (lit. shelter) to the States and the Sentiments by means of horripilation, tears and similar other signs displayed in proper places and in harmony with the Sentiments (to be produced].

Feminine graces in the drama

4-5, The dramatic experts know the young women’s Grace (alumbara, lit. ornament) to be the support of Sentiments in adrama?, and these consist of changes in respect of their faces and other limbs. OF these, firstly the change of limbs (aiyaja)? is of

1(C1; K.XXII-1). ` Ag. seems to have no very convincing explanation as to why samanyabhinaya was so called. He discusses it from different points of view (pp. 436-430), Irom the contexts of this Chapter as well as the def. given here and in 72 below, it appears that the expression means a totality of the four kinds of absrnaya (NS. VI. 23) and as such it should be distinguished from the c#¢rabhinaya (NS.XXVI.) which applies only to the pictorial representation of particular objects and ideas. * See NS.VI. 22 note.

2 (C.2; K.XXII.2).

8 (0.9; K.XXII.3). 1 See NS, VI.22 note.

4-5 (€, 4-5; K.XXII45). + एए, reads 4a as भलंकारा ART Far ae समाश्रया ; Cf. DR. 1. 30a; BhP. 0.6.120 ; ND. p. 203. a See DR. I 30b } ND. p. 203. .

.

XXIV.11] एषा BASIC REPRESENTATION 441

three kinds, next the natural (sehaja)* change of ten kinds, and involuntary (a-yatnaja)* change, of seven kinds, Physical Graces of women

6. Feeling (bhava), Emotion (hare) and Passion (hela) arising frown one another being different aspects of ‘Temperament (1101) [are Graces] connected with the physical nature'.

The origin of these Graces

7. Temperament partakes of the nature of the hody, and feeling (bhava) arises from Temperament, while Emotion (lara) from Feeling, and Passion (लद) from Emotion},

त Feeling

8. See NS. VIL 2. Ch [Feeling (4a) is the first touch of

emotion in a nature that was previously unaffected. DR. LL 33)! Emotion

9, Temperament with excessive Feeling (ha ra) [manifests itself] in relation to persons of the opposite sex. And Emotion (harv) should be marked as relating to its various conditions.?

10. In the same connexion (lit. there) Emotion (hare) should be known as arising from the mind (न) and manifesting itself in changes of eyes and eye-brows and the Recaka of the neck, indicative of the Erotic Sentiment.*

Passion

11. Everyone's Emotion which depends on the Erotic Senti- ment and expresses itself as graceful movements (lulitabhinaya) is called Passion (hela) by the wise.*

3 Soo DR, IL 32-33; ND. p. 203. = + See DR. 11, 31; ND. p, 203.

6 (6.6; K.XXIL6). } Cf DR. 11. 30b.

7 (0.7; K.XXIL7). 1 Cf. DR. 11. 33b-34b.

8(C.8; K.XXIL8), } Cf DR. 1. 39; ND. p.204. BhP. 7.8. L410.

9(C,9; K.XXIL9). See below 10, note 1. 1, reads 9a as anaifand aa व्यतिरिक्ञ' च योनिषु,

10 (C10; K.XXIL 10), ¬ According to ND. (p.204) the dave relates to a slight manifestation of erotic feclings through words and gestures, while the Aava to a very clear expression of one’s emotion through various gesturcs, = ^. ,

11 (C1; KXXIL11) Of DR, IL. 34b; BhP. 9.8, 113-14. According

56

449 THE NATYASASTRA [ XXIV. 1.

Natural Graces of women

12-13. The ten natural Graces (alambara) of women are: Sportive Mimiecry (दि, Amorous Gesture (vilasa), Dishahillo (vivehitti), Confusion (vibhrama), Hysterical Mood (hilukijeiia) Manifestation of Affection (wolaiyila), Pretended Anger (+) Affected Coldness (hibhuka), Lolling (त) and Want of Respons (त).

Sportive Mimicry

14. Imitating the hehaviour of a lover by means of relevent words, gestures and make-up (vlamkara, lit. ornament) which are delightful and inspired by affection, is called Sportive Mimiery (आः. ५

Amorous Gestures

14. Relevant changes of the special kind relating to the standing and sitting postures as well as to gait and the movements of hands, eye-brows and eyes, [which occur at the sight of the heloved] are called Amorous Gestures (vidas).

Dishabille

16. The great heauty that results from the slightly careles« placing of garlands, clothes, ornaments and unguents, is called Dishabille (vicchitt)?,

Confusion

17. Inversion of various items such as words, gestures, dresses, and make-up and Temperament due to intoxication, passion and joy, is called Confusion (vibhrama)?,

to ND. (pp.204-205) these three aspects of women’s Temperament depend on one another. Vor example the fava depends on the bhava and the #८ on the hava,

12-13 (01918; K.XXIL12-13). "DR. IL अआ; BhP. 7.9. 15, ND. p. 205.

14 (0.14; K.XXIL14). ' Cf DR. IL 37b; BhP. p. 9. 1 5; ND. p. 205. ।

15 (6.5; दर्ता. 15). 'Of DR. IL 38०, ए, p. 9, 1. 6-7 7. 205.

16 (C.16; K.XXIL16). ' The word is Pkt. in form and comes probabably from 210४1, Cf. DR. II. 38b; BhP. p. p, 9. 1. 8-9; ND. p. 205.

17 (6.17; K.XXIL 17). Che DR. IL 39a; BhP. p. 9 1. 10-11. ND. p. 205, , ४ ।

XXIV. 23] THE BASIC REPRESENTATION 443

Hysterical Mood 18. Combination of isolated states of smiling, weeping, laughter, fear, sickness, fainting, sorrow and fatigue on account of {excessive} joy, is called Hysterical Mood (bilakiiwitu)*, Manifestation of Alfeetion 19. Manifestation of Affection (motayite) occurs through Sportive Mimicry (ia), Amorous Gesture (vilésa) and the like, when at the mention of the eloved, one is being absorbed in thought of him?. Pretended Anger २0. Pretended Anger (/udéanita) arises on account of the joy and perplexity in [lover’s] touching the hair, the breast, the lip and the like, and it is feigning distress when actually there is delight’. Affected Coldness 21. The indifference which women show [to their lovers} on account of vanity and pride, after they have realised their cherished desire (i.e. conquering the lover's heart), is called Affected Coldness (Libboka)}, Lolling 22. Graceful movement of hands, feet, brows, eyes, lips ete, made hy women is known as Lolling (lulita)!, Want of Response 23. That due to bashfulness, pretence and nature women do not make any reply [to her lover] even when they have heard his words, is called Want of Response (vihgtu)?. 18 (C18; K.XXIL. 18), ' Cf. DR. 1, 3b; BhP. 7.9, 112. ND. p.206. 19 (6.19; K.XXIL19), 1 Cf DR. IL 40a, BhP. 1, 9, 1 18-14; ND. p, 206, 20 (6.20; K.XXIL20), } &, DR. IL 40b; BhP. 7.9, 115-16; ND. ए, 906. 21 (6.20; K.XXII21), ' & DR. IL (४; BhP. 7, 9 0.1.18; ND. p, 285-206. 22 (09; K.XXI1.22). LCf DR. IL 41b; BhP. p. 9, 1, 19-20, ND, p. 206. 23 (C.23; K.XXIL23). 1. DR. II. 42a; BhP. p. 9, L 21-22; ND. p, 206, ।

५५4 THE NATYASASTRA [ XXIV. 94,

Involuntary Graces of women 24. The Involuntary [Graces] are: Beauty (éobha), Charm (का), Delicacy (anadhurya), Radiarice (dipti), Self-control (dhairya), Courage (pragalbhya) and Dignity (धद्व), Beauty 25. Decoration of limbs on account of good physical form, youth and loveliness being renderd manifest after the enjoy ment [of love}, is called Beauty (obha)?. Charm 26. Beauty which is full of a lover's passion, is called Charm (hanti), Radiance A high degree of charm, is called Radiance (dipti)*, Delicacy 27, Moderation in the movement [of limbs] in all con- ditions, especially in Radiance (ipti) and in Lolling (Lalita), is called Delicacy (madhurya)*, Sclf-control 28. A natural bent of the mind which in all matters is free from rashness and boasting, is called Self-control (dhairya)?, : Courage 29. The quality of not becoming agitated in speaking, or acting anything (lit. in practice), is called Courage (prayalbhya)?. 24 (C.24; ए. 1.24). `" Cf. DR. IL 31. 25 (0.25; KAXXIL25). 1} Cf DR. 1 35a; 7, ॥. 8 1. 15-16; ND. p. 207. This def. seems to mean that a young woman’s loveliness is augmented after she has had her first experience of love’s enjoyment and this augmented loveliness is called ईद. 26 (6.26; K.XXIL26). ` Cf. DR, IL 35b; BhP. p. 8, |. 16. 5 Cf. DR. II. 36a; BhP. p. 8, 1. 17-18; ND. p. 207. a7 (C27; एवा), ' CfDR. IL 36a; BhP. p.& 1. 19; ND. p. 207. 28 (C.28; K.XXIL28). | Cf. DR. 1. 37a; ए. p. 8; 1. 21; ND. p- 207. 29 (८.29; KXXIL29), ' Cf. DR. IL 36b; BhP. 0.8, 1. 22; ND. p. 207,

“XXIV. 35] THE BASIC REPRESENTATION 445

Dignity

Courteous bearing in all situation, is called Dignity (andarya)? by the wise.

30. These [Graces] are tender [आ connexion with per- formance of delicate nature, but [in other cases] they (ie. the Graces) except Amorous Gesture (vilas«)? and Lolling (Lalita)? are brilliant (Gipta)®.

Fight aspects of the male Temperament

91. Brilliant Character (46), Graceful Bearing (vilasa), Nelf-possession (madhurya), Steadiness (sthairya), Gravity (yan bhiryn), Sportiveness (Lalita), Nobility (कदत) and Spirit (1८/५४) ave the different aspects of the male Temperament’,

Brilliant Character

३२. Skill [in various things], heroixm, and energy, aversion to mean acts and emulation of the best virtues constitute Brilliant Character (gobha, lit. beauty)?.

Graceful Bearing

33. Eyes moving straight, gait graceful like that of a

hull, and smiling words constitute Graceful Bearing (षक्र), Self-possession

34. [f due to a [long] practice [in this direction] one’s sensc-organs retain their firmness even when great changes of the natural state have occurred, it is called Self-possesion (madhurya, lit. sweetness)?.

Tenacity 35. Not reliquishing any undertaking relating to duty,

* Cf. DR. 1. 36b, BhP. p.8" 1. 20-22 ND, p. 207.

30 (C.30; K.XXI1.30). ' See above 15.

1 See above 22. 3 See above 26.

31 (८.81; K.XXIL31). ' Cf. DR. IT. 10, BhP. 7, 9, 1.24; p. 10. 1, 1; ND. p. 197. र

32 (C.82; K.XXII.32). ' Cf DR. JI. 119; BhP. ए, 10, 1. 2-38; ND, १ 197.

38 (८.38; K.XXI1.33). ' Cf DR. L 119; 119; BhP. p.10, 1. 4; ND. p. 197.

84 (0.34; K.XXI1.34) ' Cf. DR» 11. 12a; उप. p. 10,1. 5

ॐ (0.35; K-XXII,35),

446 THE NATYASASTRA [ XXIV. 36.

wealth and enjoyment, irrespective of its good or bad results, is called a Tenacity (sthutrya)!, Gravity 36. Gravity (yambhirya) is something due to an intlicuce of which [outward] changes in cases of anger, joy and tear do not occur!, Sportivencss 27. Erotic movements and changes [of features] which are not deliberate and which grow out of a tender nature, constitute Sportiveness (lalita)}. Nobility 38. Making gifts, bestowing favours and speaking sweet words to others as well as to one’s own men, is called Nobility (wudarya)?, Spirit 39. That one does not tolerate even at the risk of one’s life any reproach or insult made by others, is called Spirit (tejus)?.

Histrionie Represesentation through the body

40. 0 the best of Brahmins, T have spoken before about the Histrionie Representation through Temperament (su /tea)!, | shall now explain in detail the Histrionic Representation through the body?.

1 DR. LL. 13a; BP. p. 10,16 gives the term as dhatrya, ND. p. 198.

36 (C.86; K.XX1.36). ' Cf. DR. Tl. 12b; BhP. p. 10, 1.7; ND. p. 198.

87 (C87; एद पा). ' Cf. DR. 1. 14a; BhP. p. 10, 1.8; ND. p. 198. ,

38 (C.38; K.XX11.38). ' Cf. DR. HW. 149; BhP. 7. 10, 1. 10; ND. p. 197.

39 (C.89; K.XXIL39), ? Cf. DR. IL 13b, BhP. p.10;1 10; ND. p. 197.

40 (C.40; K.XXI140). |! See above 1-39, ;

? It ix curious that the author of the Ns. is classifying abhinaya ina different manner and reckons its two broad classes: siéoska and

Sarira and gives’ their sub-division, For a four-fold division of the abhinaya seo NS. VL. 23.

XXIV. AT] THE BASIC REPRESENTATION 447

41, This is sixfold : Words (v@tya), उल Ankura, सपा,

Natyayita and Nivrttyahkura?, Words

42, Recitatives in Sanskrit and Prakrit composed in verse ur prose When they possess meanings giving various Sentiments, constitute the Histrionie Representation hy Words!,

Stic’

13, When the meaning of a sentence or the sentence [itself] is indicated first by Temperament and Cestures. and then the Verbal Representation is made, it is called तद्रा,

Atkura

11. When one skilfully represents by Gestures in the manner of the Sica the words which one has in one’s heart, it is called the Representation of Ankura?.

Sakha

45. The representation that is made in due order hy the

head, the face, shanks, thighs, hands and fect in the manner of the ikh&(?), ix known as the Sakha Representation? Natydyita

13, The intimation of Histrionie Representation which ig made at the beginning of a drama by [different] practices, for enlivening the time, and which lasts till the coming together of the |dramatis personae on the stage] is called Natyayita?

47. The Histrionie Representation of Dhruvis relating to the States and the Sentiments which are made by means of

41 (Cal; K.XXIL41). | Cf. Kilidasa’s paiciingabhinaya, Milayi Log.

42(C.42; K.XXI142). ' This seoms to be the same as the vuctkubhinaya.

43 (C.43; K.XXII.43), | This kind of representation js mainly to aecompany songs and dance.

4d (C.44; K-XXID.44). | This kind of representation is meant to be combined with danee.

45 (C.45; K.XXIE45), 1 This kind of representation is to accom- Dany reeitatives (pathyc).

46 (C.46; K.XXII.46), | This isthe uso of gestures in connection with songs and danee before the beginning of the dramatic performance,

47 (C.47; एद ता.)

448 TOE NATYASASTRA [ XXIV. 4g.

delineating joy, anger, gricf and the like, is also to be known as Natyayitat. Nivrttyaikura 4s. When one represents words of another person hy Stici it is called Nivrtyankura’. Twelve forms of the Verbal Representation 49-51. These are the [histrionic] ways connected with proper States and Sentiments that are available for the subject- matter of plays, The representation of these, is to take the following twelve forms : Accosting (@apa), Prattling (pralapu), Lament (rilapa), Repeated Speaking (anwlapa), Dialogue (s- lapa), Change of Words («palapa), Message (sandeéa), Agreement (atidea), Command (nirdesa), Pretext (eyapalega), Instruction (upadega) and Statement (padesa)’ Aceosting 52. Accosting (त) is a sentence used in addressing [any one}. Prattling Trrelevant (lit. meaningless) words are called Prattling (pralapna)?. Lament 53. Words originating in a pathetic condition are called Lament (vila@pa)?. Repeated Speaking Speaking again and again on anything is called Repeated Speaking (anwlapa)?, Dialogue 54. Dialogue (samlapa) is made up of utterance and counter-utterance!,

48 (C.48; K.XX11.48). |! This kind of representation is used by the dancer who interpretes other’s speeches.

49-51 (C.49-51; K.XXI1.49-51). 1 BhP. p. 10, 1. 20-23,

52 (C.52; K.XXI1.52). ' Cf. BP. p. 10, 1. 24. 2 Cf 02. 1], 1.1.

53 (6.४8; ए. 2.58), ¬ Cf. BhP. p. 11, 1.2 8 See 7४}, 11, 1. 3).

54 (0.४५; KXXIL54), 1 See BP. p. 11, 1. 4

XNIV.39] THE BASIC REPRESENTATION 449

Change of Words Change of words (apalapa)* is the alteration of words spoken before. Message nh. “Speak this to him”, is [an example of] Message (10/40) 1. Agreement Saying “You have said what was uttered by me” is {an example] of Agreement (utilréa)?, Command 56. “T alone am speaking”, is [an example] of Command (11111104) 1, गिलत To speak with the purpose of deception, is called Pretext (vyapadesa)?. Instruction 57. To say “Do this” or “Take this” is [an example] of Instruction (upadesa)?. Statement # कै # is [an oxample of] Statement (apadeéa)?.

Another classification of the Verbal Representation 88. These are the forms {of sentences] that are to create the Verbal Representation. I shall speak [hereafter] of the characteristics of the seven forms which it may have.

59. [A sentence may contain a statement which] treats धो त visible (pratyaksa) or invisible (paroksa); it may relate

‡ See 012], 11, 1. 5,

55 (C.55; ए. XII. 546-५5४), ' CfA BhP, p. 11, 1. 6,

2 See 17४7. 11, 1.7, #

56 (0.66; एद. शा ४505690). ' Cf. एः, p. 11, 1. 8,

° Cf 12}. 11, 1. 11.

57 (C.57a; K.XXIL56a), " Cf. BhP. p. 11, 1.9.

* The texts omit the def. of afadega, which is given by BhP. 0. 11, 1. 10) and is as follows : भनादकदनं ae सोऽपदेथ इति त,

58 (6579५ K.XXIL.57), _ ॐ (C.58; K.XXIL58),

87 ।

450 THE NATYASASTRA [ XXIV. 60.

to the present, past or future time ; it may affect one’s ownself (atmastha) or another (varastha),

60. “O this [person] is speaking and I am not speaking” is a statement which treats a visible act (pratyaksa), affects another person (pavastha) and relates to the present पाह,

61. “Tam doing, or going or speaking” is a statement which affects one’s ownself, relates to the present time and treats a visible act.

62. “I shall do, go or speak” is a statement which affects one’s ownsclf, treats an invisible act and relates to the future time.

63. “All my enemies have been killed by me”, is a state. ment which affects one’s ownself as well as others, and relates to the past time.

64. “[The enemies] have been killed by thee”, is a state- ment which treats an invisible act, affects others, and relates to the past time,

65. “This [person] is speaking, doing or going”, is a state- ment which affects another, relates to the present time and treats a visible act?. :

66. “He is going or doing” isa statement which affects another, relates to the present time and treats a visible act?.

67. “They willdo, go or speak”, is a statement which affects others, relates to the future time and treats an invisible act?.

68. “That work is to be done today by me together with

you”, is a statement which affects one’s ownself as well as another and relates to the present time’,

00. Anything that is spoken on the stage (lit, in drama) under the cover of the hand, will affect one’s ownself, relate to something at one’s heart or will relate to an invisible (parolsa) act.

60 (C.59). + K. omits this. 61 (0.60; K.XXIL59).

62 (C.61; K.XXII.60). 63 (C.62; K.XXIL.61). 64 (0.63; K.XXII.62). 65 (K.XXIL63). + ©, omits this.

66 (K XXI1.64ab). ? ( omits this. 67 (K.XXI1.64c-65a). + 6, omits this. 68 (C.64). + K. omits this. 69 (C.65; K.XXII.66b-67a).

-XXIV. 77) THE BASIC REPRESENTATION 451

70. The seven forms of this (7. ¢, Verbal Representation) will have many more varieties when they will be modified accord- ing to time, and persons who are affected (lit. of the self and others). `

71. These are the ways of the Histrionie Representation, known to producers of adrama. Different kinds of representa- tions are to be made through these’.

The Basie Representation

72, The Basic Representation (samauyabhinaya) is that which is made simultaneously by the head, the face, the fect, the thighs, the shanks, the belly and the waist’.

73. Experts in acting are to represent [a character] by graceful movements of hands and delicate efforts of limbs [in general], which are to delineate the Sentiments and the States.

Regular Iistrionie Representation

74-75. The acting (lit. drama) which is [performed] by physical efforts which are not violent, hurried or complex and which rest on proper tempo (layw), time (2/4) and the measurement of Kalas, and in which ‘words are distinctly uttered without harshness and hurry, is called “regular” (abhyantare),

Irregular Histrionic Representation

76. When itis of the opposite kind and observes free movements and is not in harmony with songs and instrumental music accompanying it, is called “irregular” (aly).

77. tis called “regular” (whycntara, lit. inner) when it conforms to the rule (lit. within the Laksiaye or rule) and ‘irregular’ (bahya, lit, outside) when it is outside [the prescription] of the Sastra.

70 (C.66; K.X XIL.65b-66a). 71 (८.67). 1K. omits this. 72 (C.68; K.XXIL.67b-68a). 1 Cf. 1 above.

78 (6.69; X.X XIL.68b-69a).

74 (C.70; K.XXII.69b-70a).

75 (C.71; K.XXII.70b-7]a). 76 (C.72; K.XXIL7 lb-72a). . 77 (C.73; K.XXII.72b-73a)

459 THE NATYASASTRA (XXIV. 78.

Laksana defined 78. Asa performance is laksyate or marked, it is called laksana (characteristic mark). Hence it is of use in a drama, Practice preferred to the Sastra 76. Those who have not received training from (lit. lived with) any master (Gedrya) or who hove no access to the Sastras, resort to the “irregular” [ways], which depend on merely the practices [of the stage}. Representation of the sensual perception 80. A wise [actor] should represent sound, touch, form, taste and smell by the sensc-organs concerned, and by Gestures delineating their objects?. Sound 81. By making a sidelong (नद्ध) glance, bending the head sideways and putting a hand near the car, one should represent the sound (sada). Touch 82. By slightly narrowing down the eyes, raising the eye- brows in the like mannar as wellas by touching the shoulder and the check, the wise one should represent the touch (sperga). Yorm 83, By holding on the head the Pataka hand with its fingers slightly moving, and looking intently [at something] with eyes, the wise one is to represent the form (+), Taste and Smell 84. By slightly narrowing down the eyes and expanding the nostrils in the like manner as well as by intently gazing [at something] the wise one is to represent the taste (ras) and the smell (yandha),

78 (C.74; K.XXIL73b-74a), 79 (6.75; K.XXI1.74b-75a). } Read the couplet as अनावार्योषिता यै च Sq भाखदहिषताः। ww ते तु wie ्ियामातः प्रयोजितम्‌, This shows that the " oneient India’s artists did not follow the Sastras slavishly. 80 \C.76; K.XXII.75b-76a). } See also NS, VINE. 81 (0.77; K.XXI1.76b-77a), 82 (0.78; K.XXII,77b-78a). 3 (C.79; KX XI1.78b-79a). 84 (C.80; K.XXIJ.79b-80a),

-XXIV. 93 ] THE BASIC REPRESENTATION 468

85. These are the gestures which arise from the activities of the five sense-organs such as skin, eyes, nose, tongue and ears. Importance of the mind

86. When an object of a sense-organ is contemplated in mind it gets represented (outwardly], A person out of his mind cannot know the object of senses which come through five sources.

The three aspeets of the mind

87. With reference to the representation, the mind has three attitudes [towards objects], viz. favourable (isa), unfavourable (wnrista) and indifferent (madhyasthu),

The favourable mind

88. Everything favourable should be represented by the happy movement of limbs, horripilation and the opening of the mouth.

89, In case of a favourable sound, form, touch, smell or taste, one should show a happy ८९ by concentrating the senses [concerned] in mind?.

The unfavourable mind

00. By turning the head, not using the cyes and keeping them fixed to the nose, one should represent whatever is unfavour- able.

The indifferent mind

91. An indifferent attitude should be represented by expressing not too much delight. or to much abhorrence, and by keeping oneself in the middling state.

92, The representation of words like “{It is done] by him”, “It is his”, or “He does this” which relate to invisible acts is [an example of] indifferent attitude.

The meaning of “personal”

93, The object which a person himself feels is called

“personal” (atimusthu).

8 (C.81; K-XXII-80b-81a). 86 (6.89 K.XXII.81b-82a). 87 (0.88; K.X XI] 82b-83a). 88 (C.84; K.XXTI.83b-84a), 89 (C.85; K.XXIL.84b-85a). + The expression used is sdriyatr manasi priptatr, ‘by means of senses coming together with the mind’. 90 (C.86; K.X X1J.85b-86a). 91 (C.87; K.X XJI.86b-87a), 92 (C88; K.XXIL87b-88a). =, 93 (C.89; K.X XI1.88b-89a),

44 THE NATYASASTRA [ XXIV. 94.

The meaning of “external”

And anything which is to be described by another is called “external” (parastha),

Desire

94-95. Almost all the States proceed from passion which combined with desire will be considered as having many forms such as, desire for virtue (dharma-kama), desire for wealth (artha-kama) and desire for liberation (molsa-kama).

Love

95-96. The union ofa man and a woman is called love (kama). This love which may end in joy or sorrow for all people, is mostly to be observed as leading to happiness even in unpappy situations.

Erotic Affair

97. The union of men and women which finds them sexually united is known as an Erotie Affair @iyara), This benefits the two, and brings them happiness?.

98. In this world people always desire happiness of which women are indeed the source. These women are of various nature’.

Various types of women

99-100. Women are known to possess the nature of gods, Asuras, Gandharvas, Raksasas, Nagas, birds, Pisacas, Yakgas, tigers, men, monkeys, elephants, deer, fish, camel, Makara, asses, horses, buffaloes, goats, cows and the like?.

The woman of divine type

101-102. A woman who has delicate limbs, steady and soft looks from the corner ofther eyes, is free from any disease, has lustre, munificence, truth and simplicity, emits very little sweat, has

94-95 (C.90-91a; K.X XII.89b-90a),

95-96 (C.91; K.X XII.91b-92a).

97 (6.99; K.XX1I.92b-93a). + ©, omits 96.

98 (6.98; K.XXIL93b-94a), ' Cf. BhP. p. 109, 1. 9-10.

99-100 (C.94-95; K.XXII 94-960). ' Sce BhP. p. 109, 1, 12-15. 101-102 (C.¥6-97; K XXTL96b-98r),- ' &, BP. p. 109, 1616-19.

XXIV. 109 } THE BASIC REPRESENTATION 455

middling sexual passion, takes moderate food, loves sweet scent and is engaged in vocal and instrumental music, is known to possess the nature of a goddess?. The woman of Asura type

103-104. A woman who transgresses laws and _ practices trickery, is confirmed in anger, very crucl, fond of wine and meat, always irascible [in temper], very proud, fickle-minded, very covetous, harsh, fond of quarrel, jealous and inconstant in affection, is said to possess the nature of an Asura?.

The woman of Gandharva type

105-106, A woman who enjoys roaming in many gardens, is adorned with good nails and teeth, speaks with a smile, is slim- bodied, has a slow gait, loves sexual pleasure, is always pleased to hear music (gift) and raya) and to witness dance, is careful about the cleanliness [of the body] and has soft skin, glossy hairs and charming eyes, is known to possess the nature of a Gandharva?.

The woman of Raksasa type

107-108, A woman who has large and broad limbs, red wide eyes, hard hairs, loves to sleep in day time, speaks loudly, has the habit of hurting [one] with nails and teeth, is disposed to anger, jealousy and quarrel, and likes to. roam at night, is said to possess the nature of a Raksasa!.

The woman of Naga type

109-110. A woman who has a pointed nose and sharp teeth, slender body, reddish eyes, complexion of a blue lotus, is fond of sleep, very irascible, has an oblique (tiryak) gait and unsteady efforts, takes pleasure in [the company of] many persons (lit. beings), and loves sweet scent, garlands and similar other objects, is said to possess the nature of a Naga’.

103-104 (C.98-99; K.XXIL98b-1000). ? Cf. BhP. (p. 109, 1.20-22) here this type is called daityasila.

105-106 (C.100-101; K.XXII.100b-102a). ' Cf. ए, p. 108, 1.1-4.

107-108 (C.102-103; K.XXIL102b-104a), ' Cf. Bh? p. 110, 18-11.

109-110 (0.104-105; K.XXIL104b-1060). } Cf BhP. p. 110, 1. 21-22, p. 111, 1.1,

456 THE NATYASASTRA [ XXIV. 111.

The woman of bird type 111-112. A woman who has a very large mouth, energetic character, loves streams, enjoys spirituous liquor and milk, has many offsprings, likes fruits, is always given to breathing and is always fond of gardens and forests, is [very] fickle and talkative, is said to possess the nature of a bird?. The woman of Pisica type 113-114. A woman who has more or less than the usual number of fingers, is merciless during sexual acts, has the habit of roaming in gardens and fields, and of terrifying children, is treacher- ous, speaks with a double entendre, behaves abominably during sexual acts, has a hairy body and loud voice, and is fond of spiri- tous liquor and sexual indulgence, is said to have the nature of a ए. The woman of Yaksa type 115-116. A woman who sweats during sleep, loves quiet rest in bed or scat, is [very] intelligent, fearless and fond of wine, sweet smell and meat, takes delight on seeing the beloved one alter « long time, feels gratitude [to him], docs not sleep for a long time, is said to have the nature of a Yaksa?. The woman of tiger type 117, A woman who takes honour snd dishonour in the same spirit, has a rough skin and harsh voice, is wily, speaks untruth and haughty words and has tawny eyes, is said to have the nature of a tiger (vyala)’. The type of human female 118-119. A woman who loves uprightness, is always clever and very virtuous, has regular features (cibhaktany?), is grateful [to her benefactors], disposed to worship the elders and gods,

111-112 (C.106-107a; K.X XII, 106b-108a). 1 Cf. BhP. p, 1. 12-12.

113-114 (K-XXII-108b-110a), ' Emend Janadhthingulih into untdhikingulsh, Cf. BaP. p. «. 15-18.

115-116 (C.107b-108; K.XXIL 110b-112a). ' Read 1150. at medha- oni bhayahina cte. Cf. BhP. p. 110, 1. 5-7. .

117 (C. 109; ए. शा. 1120-1139). * Cf. BhP. p. 110, 110 1, 19-22.

118-119 (C.110-111;. K.XXII.113b-115a). ¬ Cf. BhP. p. 111, 1, 344,

“XXIV. 127 ] THE BASIC REPRESENTATION 4517

always careful about duty as well as material gain, and is free from pride and fond of friend and has a good character, is said to have the nature of a human being. | The woman of monkey type

120-121. A woman who has a compact and small body, is impudent, has tawny hairs, is fond of fruits, talkative, fickle, and energetic, loves [to roam ahout in] trees, gardens and forests, cherishes highly even a small kind act [done to her] and is violent in sexual act, is said to have the nature of a monkey!.

The woman of elephant type

122-123, A woman who has a large chin and forehead, is fleshy and bulky, has tawny eyes, hairy body, is fond of sweet scent, garlands and wine, has irascible temper, steady energy, loves water, garden, forests, sweet things and sexual intercourse, is said to have the nature of an elephant?,

The woman of deer type

124-125. A woman who has a small abdomen, flat nose, thin shanks, large red eyes, is fickle, has the habit of quickly going, of taking fright, is timid, fond of songs and instrumental music, is irascible in temper, unsteady in her efforts, is said to have the

nature of a deer?. The woman of fish type

126. A woman who has long, large and high breasts, is fickle and without any twinkle in her eyes, has many servants and offsprings, has liking for water, is said to have the nature of fish},

The woman of camel type ,

127-128, A woman who has protruding lips, too much sweat, a slightly awkward gait, slender abdomen, is fond of flowers, fruits, salt, sour and pungent tastes, has her waist and sides loosely hound, speaks harsh and cruel words, has a high and rough neck, is said to have the nature of a camel},

120-121 (C.112-113, एर श्या, 115b-117a). ' Cf, BaP. p. 111, 1. 5-7. 122-123 (C.114-115; K.XXIL 11001199). " Cf. BhP. 7. 111, 1. 8-9, 124-125 (C.116-117; K.XXIL119b 1218). 1 BLP p. 111, 1 10-13. 126 (C.118; K.XXI.121b-122a). Cf. BhP. p. 111, 1. 13-14. ; 127-128 (C.119-120; K.XXII.122b-124a), ' Cf. BhP, ए. 111, 1. 15-16,

58

i THE NATYASASTRA (XXIV. 199

The woman of Makara type

129, A woman who is cruel and has a large head, a steady neck, a mouth wide open, very «loud voice and the habits of fish, is known to have the nature of a Makara}.

The woman of ass type 130-131. A woman who has a thick tongue and lips, rough skin and harsh words, is violent during sexual acts, impudent, fond of nail-scratches and biting [from her lover], jealous of her co- wives, clever, fickle, slow in her gait, angry by nature and has many offsprings, is known to have the nature of an ass?. The woman of swine type 132-133. ^ woman who has a large back, belly and mouth, hairy and strong body, a very narrow forehead, is fond of ordinary and bulbous roots, has black teeth and ugly face, large thigh and thick hairs, mean habits and many offsprings, is said to have the nature of ६ swine?. The woman of horse type

13-135, A woman who is faithful, has symmetrical sides, thighs, hips and neck, straight and thick hairs, is charming, munificent, mysterious, —fickle-minded, sharp-tongued, quickly moving, and disposed to anger and sexual passion, is said to have the nature of a horse?,

The woman of buffalo type 136-137, A woman who has broad back, bones, teeth, sides, belly, rough hairs, ix faithless, turbulent and hater of men, has a slightly broad (lit. raised) mouth, large forehead and hips and is fond of forests and sporting in water, has the nature of a buffalo’. The woman of goat type

138-139, A woman who is thin, has small arms and breasts

[almost] motionless red eyes, short hands and feet, is covered with

129 (C.121; K.XXIL124b-1252). ' Cf. BRP. p. 111, 1. 17-18 130-131 (C.122-123; K-XXIL.125b-127a). ' Cf. BaP. p. 111, 1, 19-20 133 (C.124-135; KXXII. 127b-129a), ¬ Cf. BhP. p. 111, 1. 21-22 84-135 (C.126-827; K XXIL129b-131a). ` Cf. BaP. p. 112, 1. 1-3 136-137 (C.128-129; K.XXIL131b-133a). + Cf. BhP. p. 112, 1, 4-6. ‘138-189 (C.130-131; K.X XII. 137b-139a), ' Cf BhP. p. 112, 1. 7-9,

XXIV. 146 J THE BASIC REPRESENTATION 459

fine hairs, and is timid, foolish, mad, fond of forests, restless, swiftly moving, and has many offsprings, is said to have the nature of a goat!, The woman of horse type र 140-141. A woman who is alert in eyes and limbs, disposed to yawning [often], is talkative and grateful, has a small beaming face, short hands and feet, loud voice, irascible [temper], and low manners, is said to have the nature of a horse?. The woman of cow type 142-143, A woman who has large, plump and high hips, thin shanks, short hands and feet, is kind to friends, firm 10 her efforts, favourable to children, engaged in worshipping ancestors and gods, always clean, respectful to superiors, faithful, and patient in her sufferings, is said to have the nature of a cow'. Etiquette towards women

144-145, After knowing a woman's nature one should approch her accordingly. For courteous acts done to a woman according to her nature, even if these are not many, will be pleasing to her, while great many such acts when they are done with an ignorance of her nature (lit. otherwise), will not satisfy her [at all].

145-146. An external love will arise in a woman when she has been courted (lit. looked for) in a proper manner. And certain Etiquette (wpacar'a) has been prescribed for man and woman in love [with each other].

146-147. Austerities are practiced for the sake of virtue (dharmay, and the [ acquisition of] virtue is for the purpose of happiness, And happiness has its source in women the enjoy- ment of whose company is desired (by people in general }.

140-141 (132-138; K-XXII.133b-135a). | This def. seems to be spurious ; see 134-135 above.

142-143 (C.134-135; K.XXII.135b-137a), 1 Cf BaP, p. 112, 1, 10-12.

144-145 (6.136-1378; K.XXIU.139b-14la), ' Seo BhP, p.112, 1. 14-16,

145-146 (C.137b-18 8a; K.XXII141b-142a).

146-147 (C.138b-1:39a; K.XXII,142b-1438).

460 THE NATYASASTRA [ XXIV. 147.

Two classes of Etiquette

147-148, In the theatrical convention, Etiquette relating to the [practice of] love (kamopacara) of men and woman is of two kinds : external (bahya) and internal (abhyantara).

148-149. [Of these two], the internal [Etiquette] is to be observed by kings in the Nataka. And the external [Etiquette] is to be observed by courtezans in the Prakarana.

The king’s Etiquette towards women

149-150. In this connexion I shall describe in detail the rules of Etiquette for kings in their enjoyment [of women’s lovel, which have been drawn out from (lit. have arisen from) the Aphor- isms of Erotics (tamasiitra)!,

The three classes of women

150-151. Women who have the nature of various beings are of three classes : “homely” (@hyantara, lit, inside) “public” hahya, lit. outside) and “mixed” (ahyabhyadutura, lit. outside and inside). A woman belonging toa high family is a “homely” (@hyantara) and a courtezan is a “public” (Fahy) woman.

152, Athoronghly tested (dytescuee) woman, if she is a maiden of high family, is of the mixed (bah ya@bhyandara) class?.

188. Amaiden of high family has no occasion to receive the king’s Etiquette, and a public woman is never desired by a king and she does not receive his courtesivs?,

154. A king’s Union takes place with a “homely” woman, and a common man may unite with a “public? woman, while the

king may have Union with a heavenly courtezan [as पल्‌, e

147-148 (C 189b-140a; K.XXII.143b-144a). 148-149 (C.140a-141n; K,.XXII.144b-145a). 149-150 (C.141b-142a). ™ This work seems to be lost and is not the present sii¢va text ascribed to Vatsyayana On this sce the Introduction. 151 (C.142b 143; K.X X11.145b-146). , 15a (C.144; K.XXI1.147). | K's reading is fragmentary, 183 (C.145). > The reason is obvious. K, omits this. "154 (C.146). ' Asin Vikram, K. omits this.

.

-XXIV. 169] THE BASIC REPRESENTATION 461

155, The conduct which (lit. that) is approved by [married] women of high family will hold good in case of maidens too, And {in love affairs] a courtezan too [will behave generally] like ४ lady of high family?.

The beginning of love

156. Love of the superior, the middling or the inferior kind arises in men and women, from various causes‘.

157. Love [for a person] grows from hearing [about him), seeing (him, hearing about his) personal beauty, [seeing his] sportive movements of limbs and [hearing his} charming conver- sation?.

.

158. An expert in this matter should then observe the various indications of love in men and women who desire one another’s company.

159. A woman becomes overpowered with love on seeing a young man who has personal beauty as well as other innate quali- ties, and has besides the knowledgo of various arts and crafts.

Signs of love

160. The glance in which [the eyes are] charming, tearful drooping and eyelashes are throbbing, is called Kamya (lit. loving) and it should be used here?.

161. The glance in which the corner of the eyes are moving and having sportful expressions, is called Lalita (lit. sportive). It is used in women’s partial looks?.

162. Due to love, one’s voice becomes slightly impassioned, and the face covered with sweat-drops, and hairs in the body stand on their end?. ।

155 (C.147), 1 Cf, agar नायकेन तद्र्नायैमेकचारिषीद्रनम्‌ ote. KS, IV. 2.1.

156 (148). ! These three kinds of love have been defined by later authors like Saradatanaya; see BhP, p. 113, |. 10-14.

157 (C,149). ' K. omits this. 158 (C.150; K.XXII.148a). 159 (C.151), + K. omits this. 160 (C.152). + K. omits this. 161 (C.153). 1 K. omits this. Sce NS. श्रा.

162 (C154). 1 K. omits thig Cf BhP. p. 113, 1. 17-19

462 ; THE NATYASASTRA [ SXIV. 168.

Signs of a courtezan’s love 163-165. A courtezan is to be considered overpowered with love when she expresses her passion by casting side-long glances, touching their ornaments, itching the ears, scratching the ground with her toes, showing the breasts and the navel, cleansing the nails and gathering her hairs?. । Signs of love in a highborn lady 166-167. Similarly one shoyld know that there are indi- cations [of love] in a woman of high family, These are as follows ; she looks continuously with blooming eyes, conceals her smile, speaks slowly and with a down-cast face, gives reply with a smile, conceals her sweats and appearance, has throbbing lips and is trembling?. Signs of a maiden’s love 168. These are the various signs with which a woman not yet having thé experience of love’s pleasure (vuti) will.express her love which has ten stages?. Various stages of her love 169-171. First there will be alonging (abhilasa), secondly Anxicty (vinta), thirdly Recollection (anusmyti), fourthly Enumer- ation of [the beloved one’s] Merits (yuackirtana), fifthly Distress (wlerga), sixthly Lamentation (vilapa), —seventhly Insanity (uumala), eighthly Sickness (कद), ninthly Stupor (jagata), and tenthly Death (marana)!. These are the stages of love in case of men as well as of women. Now hear about the characteristics of all these. Longing 172. Longing (abhilasa) arises from efforts born of desire and wish [for the beloved one], and leads to the means of meeting [him }.

163-165 C.155-157%a; K.XXIL.148b-150), 1 Cf. BhP. p. 113, 1.3-9, and p. 114, 1. 1-2.

166-167 (C.157b-158a; K.XXII151-153a). ' Cf. BaP. p. 113, 1. 17, 7. lid, 1. 1-s.

168 (C.159; K.XXII.158b-154a). । BhP. (p.88) gives the numb 7 ns ‘ten or twelve’.

169-171 (C.160-162; K.XXI1.154b-157a). ™ Of, BhP. (p. 88, 1. 3-5) gives two more stages (शठ and wtkantha). Also cf, KS. V.1-5; NL.242L,

“172 (C.168; K.XXTL157be). - Cf, NL, 2427; एणः, p. 88, 1, 15:16.

-XXIV. 179 ] THE BASIC REPRESENTATION 463

173, One goes out of the place [where the beloved one is] or enters it or stays within his sight, and shows signs of amour in the first stage of his 10१६१.

Anxiety

174. Anxiety (cinta) should be indicated by speaking to the female Messenger (lit) words such as “By what means and in what manner will there be an Union with (lit. obtaining? of) the heloved? ?”

175. In the second stage (of love] one should look with half-closed eyes and touch the Valaya (bangles), the Ragana, the Nivi, the navel and the thighs?.

Recollection

176. Sighing again and again, thinking deeply of the beloved (lit. desired) person and disliking other engagements, is called Recollection (वणप,

177. Being engrossed in thinking of him (i. ९. the heloved) one docs not attain composure in sitting or lying in bed, and remains without doing one’s duty. The third stage [of love] should he expressed like this?.

Enumeration of Merits

178. To express by means of sportful movement of limbs, smiles and glance and (other efforts] the idea that ‘there is 70 one else like him’, is called Enumeration of [the beloved one’s] Merits.*

170. The representation [of love] in the fourth stage (i.e.

in the Enumeration of Merits) should be made hy horipillation

173 (C.164; K.XXIL158), ' Cf NL. 24987; BaP. p. 88, 1. 17-20.

174 (C,165; K.XXIL159).° ' Read sampriptih (sambhrintih, C; simanyah, K). > Cf, NL, 2436ff; BhP. 7, 88, 1, 21-27,

175 (C.166; K.XXI1.160), + Cf, BhP. 7.89, 1. 8-5.

176 (C.167; K.XXIL161). + Cf. NL.2449; BhP. p. 89, 1. 7-8.

177 (C.XXX1L76; K.XXII.162). + Cf. NL.2449; BhP. p. 89, 1. 911. Cs reading of the portion of this chapter (XXIV.) given in pp. 281 (line 27)-289 (line 3) is merely an unacknowledged copy of Ks reading of the game. C.’s, own reading occurs in pp. 348 (line 14)-385 (line 8) as a part of the chapter XXXI,

178 (C.XXXI.77; K.XX11.163). + Cf. NL.2456; BhP. ए. 801. 19-14.

179 (C-XXX178; K.XXII.164). - Cf. BhP. p. 89, 1. 15-18.

464 THE NATYASASTRA [ XXIV. 180

wiping off tears, sweats, and talking confidentially to the female Messenger to relieve the pangs of separation*. Distress 180. That one is not satisfied or pleased with sitting or lying in bed and is always cagerly expecting [the beloved one] is the stage of Distress (10०५) in 10१९1.

181. By representing anxiety, sighs, lassitude and burning of the heart in an exaggerated manner,, one should express the stage of Distress?.

Lamentation

182, Lamentation (rilapa) is represented by speaking sorrowfully words such as “He stood here; he sat here, and here he approached me, ete’.”

83, A lamenting woman is distressed by very eagerly ex pecting [the beloved one], an out of uneasiness she moves from one place of grief to another?.

Insanity 184. When a woman is always engaged in talking about him (i. ¢. the beloved) and hates all [other] males, it is a case of Tusanity (1umtle). 185. To represent Insanity one should sometime look with a steadfast gaze, sometimes heave a deep sigh, sometimes be absor bed within oneself and sometimes weep while walking about?. Sickness 186. Being devoid of all pleasures of love and of fany] ex- pectation (about them] one gets Sickness (षका). 180 (C.XXXI.79; K:XXI1.165). + Cf, NL24621;BhP. p, 89, 1 19-22, 181 (C.XXXI.89; K.XX11.166). + See note of 180 above. 182 (C.XXX1.81; K.XXII.167) + Cf. NL.2470; शि. p. 90,1. 1-8. An example ve तथा सह हङितम , te तथा सह कथितम्‌ , we तया स पुषितम्‌, इइ तया BY कुपितम्‌ , wy तथा सह शयितम्‌ cte (Svapna 1-15, 2-4), 188 (C.XXXI. 82; K.XXIL 168). + Cf. BhP. 90, 1. 4-8. 184 (C.XXX183; K.XXIL. 1690). Cf. NL.2484ff; BhP.p.90 19-15. 185 (८.९ 1.84; XXII.170), + See above 184 note. 186 (C.XXXI.85; K.XXIL171). 1 BhP. p. 90. 1. 16-18. follows K. NL (2476) has दण (disquietude) whieh precedes unmida,

XXIV. 194 ] THE BASIC REPRESENTATION 465

187. To represent Sickness tlre cighth stage, one is to show that the heart becomes paralysed, the body is in fever, the head aches badly, and one does not have any tranquility.

Stupor

188. In Stupor (jadata) one does not respond when ques- tioned, and does not hear or see [anything It isa pathetic condition in which one’s mind is deranged?,

189. To represent Stupor one is to utter response (hum) on the wrong oceasion, and is to have one’s limbs relaxed and the mouth given to excessive breathing (lit, swallowed by breathing)},

Death

190). Tf even after adopting all the means [available for the purpose] the Union [with the heloved] does not take place, then burnt in the fire of love one’s Death (१५११५) takes place?,

101. Thus in case of her meeting (lit. getting) the beloved, one should represent, according to the Science of Eroties (hamatan- {ra}, for the TTeroine all the stages of love except the last onc’.

Manifestation of men’s love

192, Even a man separated from his beloved one will thus make a manifestation of his love in diverse ways through different States?.

Characteristics of love

193. One should represent men as well as women who are expressing these stages of love by bringing in their common characteristics [in particular stages]*.

Women separated from the beloved one

194-196. All the stages of love should be represented in

diverse ways by anxiety, sighs, lassitude, weariness of the body, and

187 (C XXX1.86; K.XXII. 172). T Cf. BhP. p. 90, 1. 19-22.

188 (C.XXX1.87; K.XXIL 173). 1 Cf, NL.2499ff; BRP, p 91, 1. 1-6.

189 (C XXX188, K.XXIN174). 1 Sce above 188 note.

190 (C.XXXI.89; K.XXIL175). 1 Cf, NL.2505ff. BhP. p. 91, 1. 7-8

191 (C.XXXI. 9); K.XXIL176). 1 Ce, NL2SLOF. BhP, p.91,1. 9-10.

192 (C.XXXI.91; K.XXI1177). } See above 182 note. i

193 (C.XXXI.92; K.XXIL178). ? K. reads after this two addi- tional (XXIJ,179-180) couplets.

194-196 (C.XX XJ.98-95; K.XXIT.181-1 83).

59

466 THE NATYASASTRA [ Va.

following [the beloved] or gazihg [at him] or gazing [vacantly] at the sky, talking pathetically, touching [different ornaments], twisting [some objects] or clinging to some support and similar other conditions and situations arising from an absence of Union (vipralainbha), Relief in love-siekness 197. When burning very much with the fire of love one will use [special] clothes, ornaments, scents, rooms and gardens which have a cooling effect, The female Messenger 198. Being over-powered with a burning love and affected through its several stages one should send a fomale Messenger [to the beloved] to speak of one’s conditions.

199. One should ask a female Messenger to cury a message of love [to the beloved], She [should deliver the same] with proper courtesy [and the like] after saying “This is her condition”,

200. After the substance (lit, meaning) of tho message has been communicated one should think of the means of fulfilling the love. This is the rule where love is to be practised secretly,

The king's Etiquette to women 201. 1 shall now speak in detail about the rules regarding

the practice of kings in relation to “homely” women and these rules are taken out the Science of Erotics (hamatantya)',

202. Happy and unhappy conditions which occur [in con- nexion with loye] in persons of various dispositions, and which are assumed by kings, are also followed by common people.

203, Kings have no difficulty in obtaining women ; hecanse

means for this, is at their command, And the love that grows out of liberality becomes pleasing.

19? (C.XXX1.96; K.XXIL18!). 198 (C.X NXI.97; K XXI1.183), 199 (C.XXX1.98; K.XXIL186), 200 (C.XXX199; K.XNXII167). 901 (C.XXX1.100; ए. वा.) 1 "This does not seem to indicate . any particular treatise.

202 (AXXXL101; K.XXIL1g9), 203 (C.XXXIL102; K.XXII.190),

-XXIV. 210] THE BASIC REPRESENTATION 467

904. Out of respect for the queens and for fear of their favourite women, kings are secretly to make love to queen’s maids.

295, Though the kings may have many ways of making love, the making it sceretly will be {the most] pleasing [of all],

206. That a woman resorts to wily ways, that one is shut out from her and she become available only with difficulty, imparts the supreme pleasure to her love.

907. Incase of women of the harem, the king's Union (sumbhoga) with them in day time may be permitted, but in dealing with external women Union should take place at night?.

Reasons for Conjugal Union

208. The following six are reasons* for the Conjugal Union (rasuka) : scheduled order (yripati), [desire for] progeny (phala), newness of relation (५८४ (८८८), birth of a child (praserd), time of sorrow (dhicha) and of joy (1५11.

209. When the Conjugal Union (कणो is due, kings should go to the bed-chamber of a queen even if she may be in her menses or may 1101 be his favourite.

Kight kinds of Heroine

210-211, In this connexion Heroines (wayita) ave known to be of cight kinds suchas, “one dressed up for Union” (दर sujj@), “one distressed hy separation? (rirwhotkunthil@), “one having her husband in subjection” (xra/hina-bhavtrka), “one separated [from her lover} by a quarrel” (haluhdiuturit@), “one enraged with her lover” (khundita), “one deceived by ler lover” (ripralabdtha) “one with a sojourning husband” (prositabhartyha) and “one who moves to her lover” (alhisariha)*.

ee Oe Se 9 +. Oe 204 (C.XXX1103; KXXIL191). 20 (C.XXXL104;K.X 11.109). 206 (03 21.105; K.XXIL 19). 207 (6.201.106; K.XXIIL.194). | Cf Ks, V. 1, 16. 908 (CXXXL107; KXXIL195). 1 gee Homecaudra’= 1 4८4 ला thi passage quoted in KA. (p. 307) where he copies Ag. (1, 177) verbatim: 2 'Phis rule of the Conjugal Union (vasaka) oom to have been relaxed at the time of Vatyyayana. See KS.(U, 2, 61-65. 209 (५,९.08; K.XXU.196). : 910-211 (C,XXXL109-110; K XXIL197-198) ' See DR.LL23-27,

?

468 THE NATYASASTRA [ XXIV, 219.

The Heroine dressed up for Union

912. A woman who in eager expectation of love's pleasure decorates herself joyfully when the Conjugal Union (rasa) is due, is a Heroine dressed up for Union (vasalusajja)}.

The Heroine distressed by separation

215. A woman whose beloved one docs not turn up on account of his preoccupation with many other engagements and makes her sad, is a Heroine distressed by separation (कव kandhita)?,

The Heroine having her husband in subjection

214. A woman whose husband captivated by her conduct as well as by love’s pleasure (वदत) trom her, stays by her side, and who has pleasing qualities, isa Heroine having the husband in subjection (seadhinabhartyha)},

The Heroine separated by quarrel

215, A Heroine separated by quarrel (haluhdntarita) isa woman impatient for her lover who has gone away due to a quarrel or jealousy, and does not return?.

The enraged Heroine

216, A woman whose beloved one on account of his attach ment for another female does not come for’the Conjugal Union when it is due, is an enraged (लक्षा) Meroine!.

The deecived Heroine

217. A woman whose lover docs not come to her for a certain reason even when the female Messenger was sent to him and a tryst was made, isa deceived Leroine (nipralald ha),

The Heroine with a sojourning husband

218. A woman whose husband (lit. the beloved one) is

living abroad on account of various duties and who wears her

212 (C.XXXL111; K.XXIL199). ` Cf. NL. 25251; DR. I. 24; BhP. p. 99. 213 (C.XXXL112; एला 200). ' Cf. NL.9530ff; DR. 25; गणः. p, 100, 214 (OXXXILL3; K.XXIL201). 1" Cf. NE.2568!; DR, TL. 24; BhP. p. 99. 215 ((XXXLU4; द. 209), ' Cr. NL.2350; DR. I. 26; BhP, p. 99. 216 (C.XXXI115; K.XXI1.208) 1 Cf NI.2036if; DR. IL ५5; Bh, p. 98. 217 (C.XXXIT.116; K.XXIL204), ' Cf. NL.2542ff; DR. I. 26; BaP, p, 99. 218 (C.XXXT117; K.XXI1205), ' Ch NL.2556ff; DR. IT. 27; whieh uses the the tre u prosapriya, BhP. p. 100,

-XXIV, 295 ] THE BASIC REPRESENTATION 469

hair hanging louse, is called a Heroine with a sojourning husband (prositubhartika), [निजात moving to her lover

219. 4 woman who due to love or infatuation is attracted to her lover and gives up modesty for going out to meet him, is called a Heroine secretly moving to her lover (abhisarika)',

Representation of the different Horoines

220, Heroines in a Natuka should be of these conditions, 1 shall speak of the manner in which the producers are to represent them?,

Euraged, deecived and quarreling Heroines

221-223, Enraged (114, Deveived — (eiprulahdha), and Quarreling (Aalahautarit@) Heroines should be represented by anxiety, sighs, lassitude, burning of the heart, conversation with female friends, looking to one’s own condition, weakness, depres- sion, tears, appearance of anger, giving up of urnaments वात्‌ toilet, sorrow and weeping?,

The Heroine with a sojouring husband

wb. The Heroine with a sojourning husband (prosite-

Uhartyh@) should also be represented with these states?. The Heroine having the husband in snjection

224. A Heroine having the husband in her subjection should he represented with gaudy and brilliant dresses, face beam- ing with pleasure and having an excess of physical charm?.

Different classes of Heroine moving to her lover

225. Whether she may he a courtezen, a lady of high family or a maid-servant, the producers should make the Heroine move to her lover in the special manner described below!.

219 (८.५.118; K.XXIL206). ' Ch NLv372; DR. U. 27. see BhP. p. 100.

220 (CX ९1.119; K.XXI207), 1 Vatha yojyam proyoktrbhth, C, for kimatantram anckadha. K.

21-223 (C.XXXI120-122a; K.XXI11.208-210a), | Cf. DR. TI, 28; ef. BhP. p. 98-100.

१9 (C.XXXI.12ab; KXXIL210b). | Cf. BRP. p, 100,

994 (C.XNXX1.123; K.XXID211). | Cf. DR. IL 28. Cf. BhP. p. 99,

225 (CXXXL124; K.XXI1 212). ' Cf DR, 1. 28. Cf. BaP. p, 100,

470 THE NATYASASTRA { XXIV. 297-

The Courtezan 296, [In going down to her lover] the courtezan is to have her body beautifully decorated with various ornaments and to walk slowly in the company of her attendants and with [a display of] passion (samaana) and joyt. The woman of high family 227, [And in such a situation] a woman of high family will cover her face with a veil, and walk timidly with her limbs contracted, and will [very often] look back?. The hand-maid 998, And in the same sitnation] a hand-maid will walk with uneven steps (@viddhayati) and eyes beaming with amorous joy, and will talk distortedly through intoxication (madaskhalita-samlapa).! How to meet a sleeping lover 229. Tf the heloved (lit. this one) is in bed and she finds him manifestly (sevyaltam) asleep she [should] awaken him in the manner I am going to mention’.

230. A woman of high family is to awaken him by [the sound of] her ornaments, the eourtezan by the sweet (lit. cool) sents and the handmaid by fanning the beloved one with her clothes!

231, [Tn this connexion] the scolding words of women friends are to be strong but sweet, and beautifully puctuated by sighs’.

232. This is the rule of love making for women of high family and others, for the Nitaka is to represent all the States [in a Heroine]

226 (KAXNIE213). | Read 226 as samadani prahrsii ca ete. Ch

NL.2580ff; BhP. 7. 101, 1. 4-10: SD. 117. + 297 (K.XXIL214). ' \ Read 2272, as samdind sees gitresu ote. Cf,

NW.2576ff; पः. p. 100, 1. 19-22. SD. 117.

228 (C.XXX1.125a; K.XXILQ15). ' Read 2280 as madaskhaltta- samlbipi ote. Cf, NT.25804; BhP, 1. 101, 1. 11-15,

229 (XXXL La5be; 1.221.216). | Read 2292 ay ated श्विता aan gay gh परियं मदा. Cf BLP. p. 101, 1. 16.

230 (CXXXIL217). ' Cf BhP. p. 101, |. 16-22. 231 (CXNXL126). ' It seems that one ov two couplets have been lost before this. We give merely a tentative trans. of it,

932 (K.XX11.218),

-XXI1V. 239 | THE BASIC REPRESENTATION 1

The Conjugal Union

3 F .

233, For a woman newly in love or for an enraged woman when she ix not coming [of her own accord], the Conjugal Union should he arranged through some means or exense7,

234. [A woman] always onjoys with pleasure yarious orna- ments, dresses, scents and garlands which are charming and are of the best kind?;

235. Just asa man docs not come under the control of love when he has not (previously | met any woman, so heing united, with the heloved woman [such a person | hecomes doubly delighted!

Behaviour at the Conjugal Union

oye

256. AC the time of Conjugal Union (lit, union of love) there should be amorous feelings, gestures, words वात्‌ sporttul movements of the sweetest kind (lit, having a special ynality of sweetness) and especially looking at each other with love!, Preparation for the Conjugal Union

937, When the Hero (ie, the beloved one) comes, a woman on her part shonld make some special preparation for the Conjugal Union which will give rise to pleasure’,

938, After wearing simple clothes, putting on garlands and using sweet scents she should take up the mirror again and again even when she had done with it (lit, has become successful)?

939, To preparing for the Conjugal Union one should not put on too many ornaments, {among these} the Rasiné and the Niaipura which have a sound are often to be preferred’.

ry

233 (OXXNLI27; 1.९11.919). 1 Ks reading is very corrupt.

23h (C.XXXE129; K.XX1.220). | Cy sidpadesarr for salyadesarr, K,

935 (CXXNXL129; K.XNIL221). 1 Here to some passage secins to have been lost before this couplet.

236 (C.XXXI130; K.XXIL222). ' Here also some passage seems haye been lost before this couplet. 2

937 (C.XXXVS1; एता. 23). ' Ke reads 2479 as Aa, wat सदेने उपचार-समुधवे,

938 (0. ददाना), 1K, reads पी) as म्यापयत्ायकक्ौ कुर्याश्ास प्रसाधनम्‌,

239 (O,XXX1.133; दस्तात). 1 Vasopacire K. visopaciro त,

472 THR NATYASASTRA [ XXIV, 246

Acts prohibited on the stage 240, [In representing various activities of women] there should be on the stage no ascending of the bed-stead, no bath, no use of unguents and collyrium, no decoration of the body and no handling of their breasts or hair’.

2.11. And women of the superior and the midding types shonld not he shown as poorly draped («par7/a) or , wearing only one piece of garment (ekawastra) and they should use no colour for their lips’,

2492, Such a rule [of dresses] will suit only the women of the inferior type, because of their low nature. But on certain occasions they 100 are not to be represented like that’.

243. Men and women of the courtezan class in a play should take up a flower after they have dressed themselves up (lit. having taken ornaments).

24. Tfa woman with a decoration [of her hody] awaits the arrival of her beloved, she should cleverly finish it so that nothing contrary [to propriety] finds expression?.

The Teroine in expectancy

247, After finishing the preparation for the Conjugal Union, the Heroine should sit down and expect [every moment] the coming of the beloved (lit. Hero) while listening the sound of of striking the Nadikis?.

246. After hearing the sound of (the expected] Nadika the Heroine overcome [with joy) on [the chance of] the beloved one’s

240 (C.XXXL.134, Cf. K. XX11-225). + This shows the high moral sense of the people of the time.

241 (C.XXXI.135; K.XNII.227). 1} See above 249 note-

949 (¢, XXXI.138; K.XX11.228), ` That is, they might appear on the stage as poorly draped or with one piece of garment or might have their lips painted.

243 (C, KXXI187; Cf. K.XXII.229)

944 (C.XXXI.138; K.XX11.230). ` Read the couplet as follows : नियुक्तमग्डना किचित्‌ प्रतौदैत प्ि्ागमम्‌। लौयामख्डितं शेय कुर्याद्ययत्र faa’,

245 (6.१ ¶ 139 of 1८. र शा. १३1). } कत्ल 20146. ©,

246 (C.XXXT149; ररा] 217), 09). 1 Malika K. शा C. Samna-hrdayi, C. (trasta-hrdayii, K).

-XXIV. 253 | THK BASIC REPRESENTATION 473

coming should run towards the gate [of the house] with 9 trembl ing [body] and with her heart about to stop (lit. motionlees),

247. And holding the door-frame with her left hand, and a door-blade with the right one, she should with straight eyes look up for the arrival of the beloved,

248. Overcome with apprehension she should show reasone able [signs of] fear when the beloved will fail to appear (lit. not seeing the heloved), and shonld turn sad for the moment.

249. Then after heaving a deep sigh and lowering her look (lit. face) she should with a motionless heart drop down herself (lit. her limbs) on a seat.

250. Due to a delay of the beloved she should connect (it. ponder over) his coming with causes (lit, considerations) which may he good or bad,

951. She will think fas follows :] “Could the heloved have heen held up by duties to his superiors, by the friends, or by the ininisters engaged in affairs of the state. or eould be have been detained by some favourite woman ?"

252. She should vepresent appearances connected with the various good or bad causes [mentioned above] by means of personal omens like quivering or throbbing [of a particular limb).

Personal omens

9353, Personal omens indicating occurrence favourable to women will occur to their left [side] while omens in case of all undesireable happenings will take place on their right.

247 (CXXXI 1411; K.XXIL232b, 2239). 1 © yeads as 247a waanttgal भूय प्रतौति प्रिागमम्‌ ; wo with K.

248 (C.XXXL142; K.XXIL233b-234a). 7 K.’s reading is corrupt.

249 (C.XXXI.143; K.XXIL234b-235a). 1 ए, reads nayantimbu for asyan catva, C.

250 (C.XXXL 144; K.XXI1235b-236a).

251 (C.XXXI.145; K.XXII 236b-237a),

953 (C.XXXI.146; K.XXIL237b-238a). 1 ए, reads 252 as उतपि" शे प्रभागभरुपितम्‌। निनिततैः cme BE रेदिरैरधा.

953(OXXXL 147; K. XXIL 238b-239a). | anisfeyu, ©, for duruktesu, K, ९

60

4174 TAR NATYASASTRA [ XXIV. 261.

254. Tf the left eye, eyebrow, forehead, lip, arm, breast or thigh throbs, this will indicate the coming [of the beloved].

255. If these will throb differently? that will indicate some- thing calamitous (lit. not desired). In case of perceiving such bad omens she should at once faint®, = /

256. As long as the heloved has not come, her hand will rest on her cheek, and being careless about her toilet she should go on weeping.

257. But afterwards on seeing some good omen indi- eating his arrival the Heroine should represent-that the heloved one has drawn near by means of fecling™ his smell.

Heroine’s reception of the beloved

258. On seeing him (come] she should joyfully get up and proceed to receive the beloved and look at him with eyes beaming in pleasure.

Receiving the guilty lover

259. But [in case of] the beloved one who has come with the signs (of meeting another woman] and green wounds? [received from her] she should point out [the man] after assuming the Ayata posture (sthana) with her hand in the hand of her female friend?.

260, And the beloved one being found guilty he should be given censure in due order by means of [appropriate] gestures and reproachful words as well as by Jealous Anger (mana), Insult (avamana), Fainting (sammohe) or Dissimulation (avahittha)".

261-263. Due to reasons like the application of Dissimus lation, the use of hidden words or of laughter, curiosity, flurry, calamity and acceding fo 8 situation of fun and to his

254 (C.XXXI.148; K.X XIL.239b-240a). 255 (C.XXXI1.149; K.XXIL240b-241a). ! That is, if the right ey and eyebrow ete. throb. = ° K. reads 255 a as अतोऽध। Weald दुरितं efaw भवेत्‌, 256 (C.XXXI.150; K.X X1I.241b-242a), 257 (C.XXX.151; K.XXI1.242b-243a), ' That is, by representing it with gestures, 258 (C. XXXI.152; K.XXI1.243b). 259 (C.XXXI.153). | 2८, of biting and scratching. * K. omits this. 260 (C.XXXI.154-155a, K.XX11.244-245a).

261-263 (CKXXI.155u-157a; K.XXI1.247-248), 1 Ki reads dharm- artha-kima-yogesu, ,

-XXIV. 269 ] THE BASIC REPRESENTATION 415

concealing any fault, the Heroine should speak to the beloved even if [his guilts require that] he should not be spoken to.

263-264. Where there is affection there iy fear also. And where there is jealousy there occurs love (nana),

Causes of jealousy

The causes of this (८. jealousy) are fourfold : Depression (vaimanasya), Mixed Fecling (eyulika), Disgust (ripriye) and Anger (manyu), Please listen about their description.

Depression

265, Depression (raimanaxga) arises from seeing the beloved one walking lazily due to sleepiness and lassitude, and discovering signs (of his Union with another woman] and fresh wounds [received from the latter].

266. This should be represented with an intensely jealous face, great trembling of limbs due to anger, and utterance of words like “It is good”, “It is nice” and “It is beautiful.”

Mixed Feeling

267. Mixed Feeling (ryaliha) arises due to jealousy mixed with joy when one’s beloved stays [near by] even after he has been treated with insult,

968. Mixed Feeling should be represented by standing firmly on legs with the left hand on the breasts and the right one violently gesticulating.

Disgust

269. Disgust (ripriye) will arise when the beloved one

2 K. reads before this three hemistichs (245b-246) as fellows : चन agate: सयां गाधाङृता भेत्‌ । विग्र हरागेषु संदेह gna तथ। । परोप च हए च afer चेपपाणने (Women’s outburst of speech stould he in एद [in the following cases}: in confidence, affection, suspicion, love, satisfaction, joy, courtesy and infliction of abuse).

263-264 (O.XXXI.157b-159a; K.XXI1.219-251)).

265 (C.XXX1L159be; K.XX10251).

966 (C.XXX1.160; K.XXII.252).

967 (C.XXI.161; K.XX11.253).

268 (C.XXXI.162; K.XXI.254).

269 (C.XXX1.163; K.X X11.255).

416 THE NATYASASTRA { XXIV. 270-

says that “Llive while you live,” I am your slave” and “You are my 10१९१ but behaves in a different manner.

27). Representation of' Disgust should be made by a cold treatment to the female Messenger, disregard for the letters and indifference about giving reply to any question [made by the beloved? ] and also by shaking the head.

Anger

971. Anger (manyn) arises [in a woman] when the be- loved one comes to her after his Union with a rival woman and boasts about his good luck in this matter, and discloses the signs of such a Union,

272. Anger should be represented by giving up the Valayas and throwing up the Ragan& in a loose manner and by timid and tearful eyes.

On treating a lover at fault

273. On seeing the beloved one standing much ashamed, and afraid due to his guilt, [the Heroine] should harass him with rebuke made up of words spoken in jealous [indignation].

271. But no very लाट words should be uttered, and very angry words should also be avoided. [The Heroine] should speak tearfully things referring to her ownself.

275-277. This attitude should be represented by the middle linger touching the edge of the lower lip and a hand placed on the breast and by looking with eyes upturned, or by ४ Karana in which a hand is placed on the hip and the fingers are separated (9), or by moving the head and bending it to see the nails or by a look of Dissimulation or by beautiful finger gestures indicating threat.

270 (C.XXXI.1¢4; K.XX11.256). 1 Or by the messenger.

27) (C.XXI.165; K.XX11.257),

272 (C.XXXJ.166; K.XX1I.238).

273 (CXXXI167; K.XXI1,959).

274 (K XXIL260). | Emend aa casyitikvodhana’ into na cipy- at tkvodhana?

+ 275-277 (C.XX 21.168, 1690; XXIV. 268b-269; K.XXII. 261-269). ‘Read 275a as सथ्यसद्ुख्ोषठाग fear पाणिनि wufaea; for the reat we follow C.

“XXIV. 287 ] THE BASIC REPRESENTATION 417

278-279, After saying “You are shining”, “You look well”, “Why are you tarrying”, “Don’t touch me”, “Go to the beloved who is in your heart”, “And go away”, one should turn back and make jokes with words which do not require any reply.

280. In case of being taken forcibly by the dress, the hand or the hair (lit. head) the woman should be softened even after seeing the guilt (of the beloved].

281. When taken by her hand, dress or hair the woman should slowly release herself from the beloved.

282. When taken by her hair, hand or dress the woman should enjoy (lit. take) his touch in such a way that the beloved one does not perceive it.

283. The woman should slowly release her hair [from the hands of the beloved] by standing first on her toes with limbs bent and then taking to the Apakranta Cari.

284. Her hair being not released [due to efforts of the beloved] the woman should perspire on his touch and say “Hum hum, let [my hairs] go”, and “Go away”,

285. After hearing the angry words like “Go away” the lover (lit. man) should [first] go away and then come back to start talking to her on any pretext.

286. ‘Then the woman should make movements of her hand while uttering “Hum Joon”, and during these movements she should speak to him with an imprecation (sepatha),

287. In case of her clothes being taken away [by the beloved one] the woman should either cover her eyes, or turn them (i. ९. eyes) to her back and cover her Nivi.

278-279 (C.270-271; K.XXI11.264-265). | sobhase, K, Sobhana, C. £ 'The trans. of 279 is tentative. 2at) ((272; K.XX11.266). 281 (C273; K.X X1I.267). 282 (C274; K.XXIL268). 283 (1.975; KXXU.269). । Seo N4. XL80 284 (C276; K.XXI1270). _ 28; (C.277; K.XXIL271). 286 (C.978; 1९.11.072). 287 (G.279; K.XX11.273).

478 THE NATYASASTRA [ XXIV. 288.

288, A woman should harass her [offending] lover till he will fall to her feet; but on his falling at her feet she should look tu the female Messenger.

289.290. ‘Then the Heroine should embrace the beloved and with the object of love’s enjoyment she should joyfully walk {with him] to the bed. All these should be represented [only] by songs with a gentle dance.

290-291. When in a play there is any speaking to the sky depending on other men’s speech, which relates to love’s pleasures and the Erotic Sentiment, then the same line of representation should be followed by a woman,

292, The same should be the rule of representation in whatever [else] relates in a play to the inner appartment (harem) and is connected with the Erotic Sentiment.

Acts forbidden on the stage

293, One knowing the dramatic convention (natyadharma) should not represent sleeping on the stage. But some need occurs ring for it one should bring the Act to a close.

294-295. Tf out of any necessity anyone sleeps alone: or with anyone, no kiss or embrace or any other private acts such as biting, seratching with nails, loosening the Nivi, the pressing of breasts and lips, should be presented on the stage.

296. Eating [anything] or sporting in water and doing any immodest act should not be presented on the stage.

288 (C.280; K.XX11.274), | Read the passage as follows: तावत्‌ सेदयितम्यसु यावत्‌ पादगतो भेत्‌ । ततद्रणयो; पात कुयौद्दूती-निरौचयम्‌,

289-290 (C.281-282a; K.XXII.278-276a). 1 K. reads 290 with some variation. In trans. itis as follows: Then the woman will tolerate (lit. accept) the touch of the beloved and holding him up properly [from the feet] lead him to the bed.

290-291 (0, 282b-243; K.X X11.276b-277). ' Emend eBkiba-purusam, . into cakaga-bhasitam. The trans. is tentative.

° Read bhavet kanye (bhavet kirya, ©, nayet kivye. K).

292 0. 284; K.XX1I.278). 298 (C.285; K.XXII.279).

294-295 (0.285-287; K.XX11,980-281). 1 This shows the high moral tone of the Indian theatrical art « 296 (C,288; K.XXI1.282),

-XXIV. 004] THE BASIC REPRESENTATION 479

297. Asa Nataka is to be witnessed by the father and the son, the mother-in-law and the daughter-in-law [all sitting together] these acts should be avoided.

298. Experts should write Natakas with pleasant and not very harsh words giving rise to good counsel.

Endearing terms of address for the beloved * 999, Now hear about terms which women in love are to use to their beloved ones when the Union takes place.

300. Such terms are “dear” (priya), “beloved” (kandta), “affectionate” (पात), “lord” (natha), “master? (षकाण), “life” (jwita) and “joy” (nandana).

Angry terms of address for the beloved

301. In case of anger terms used may be “ill-natured” (duhsila), “tyrant” (duraedra, lit. ill-doing), “deceitful” नो, “hostile” (vam), “indifferent” (vivtpa), “shameless” (nirlajja) and “cruel” (nisthura),

Endearing terms of address

302. He who does nothing undesirable, speaks nothing improper, and always conducts himself uprightly is called “dear” (priya).

303. He in whose lips or [other parts of] the body no sign of Union with another woman is visible is called “beloved” (17110).

304. He who कथा in his anger does not cross words [with the woman he loves] and does not use any harsh word is called “affectionate” (vinita, lit. disciplined).

297 (C.289; K.XXI1.283), | See above 294-295 note

298 (0.290; K.X X1I.284). 999 (C.291; K.XXII.285).

300 (C,292; K.XXIL286). ' BhP. (p. 107, 1. 7-9) has eleven terms. 801 (0.293; K.XXI0.287). } BhP. (p. 109, 1. 10-11) has eight terms. 302 (C.294; K.X XII.288).

303 (C.295; K.XXI1.289), ' Of, BhP. p. 107, 1.14-15.

304 (C.296; KyX X11.290).

480 । THE NATYASASTRA { XXIV. 305-

305. He who maintains an intercourse with a woman by gweet words (sama, lit, conciliation), gifts (काव), providing, enjoyment, caress and maintinanee, is called “lord” (uatha),

306. He who isa well-wisher [of his beloved woman], is able to protect her, is not conceited or jealous, is always alert on every occasion, is called “master” (sramin).

207. He who takes to the bed to please the wofan tactfully hy [providing| enjoyments according to her wishes and desires, is called “life” (j7rita),

308. He who is high-horn, patient, clever, kind, master of words and fit to be praised among women friends, is called “joy” (nandana).

309. These words are used to highten the charm of love’s enjoyment. T shall now speak of words which indicate an want of love. Tear about them.

Angry terms of address explained

310. He who is लाल्‌, impatient, conceited, shameless, bragging, given to crossing words ix called “ill-natured” (कुम).

311. He who out of indiscretion restrains a woman's movement or beats her or uses harsh words to her, is called a “tyrant” (duracGra). नि

312. He who for his own purpose speaks sweet words but does not put them into practice is called “deceitful (कात).

313, He who even being forbidden to do anything docs that very thing, is called “hostile” (rama),

805 (C.297; K.XXII.291). + Cf. BhP. p. 107). 1. 16-17.

306 ¢. 298; K.XX11.992), ? Cf. एः; p. 107b, 1. 18-19.

307 (C.299 K.XX11.293), ` Cf. एणः. p- 108b, 1. 4-5; the term here is fivitesa, ‘lord of life’.

308 (C.300; K.XX11.294). ` Cf. BhP, p. 108b, 1. 2-2,

309 (0.301; K.XXII.295),

310 (C,302; K.XX11.296). ` Cf, BhP. p. 108b, 1. 14-15.

911 (C.3038; K.XX11.297). ' Cf. BaP, p.109b, 1. 4-3.

312 (C.804; K.XX11.298). } Cf. BhP. 2, 108b, 1. 20. p. 109), 1. 1,

313 (C.305; K.XX11.299), ' Cf, BhP. p. 108b, 1. 12-13.

-XXIV. 321 ] THE BASIC REPRESENTATION 481

314. He who has green wounds [received from a another woman] and is proud of it and remains silent {in conceit] is called “indifterent” (virtipa)}.

315. He who approaches the woman more resolutely than ever even when he is guilty [towards her] and bears the marks of such a guilt and is forbidden to approach, is called “shameless” (nirlajja)+.

316. He who being guilty towards her tries to enjoy a woman’s embrace by force and does not think of concilating her, is called “cruel” (nisthara)*,

317, These are the ways of using words to indicate whether alover is dear or not so. In different circumstances’ one should use the opposite [of these]?.

318, These should be the rules [of address] in songs with a gentle dance as well as anything to be expressed in words for the Erotic Sentiment’.

319. This is the rule about the representation of incidents relating to the harem. Tshall now describe in detail the rules regarding the goddesses (lit. celestial females)‘.

Goddesses in human roles 520. The dress of goddesses is always brilliant, their mind is always full of joy and their time is always passed happily and in sports.

321. Celestial males have no jealousy, anger and malice

in life and they require no propitiation of their females.

ee Sisters ~~ —

314 (C 306; K.XXIL300), ! Cf BhP. p, 108b, 1. 14-15.

815 (0.807; K.XX11.301). ' Cf. BhP. p. 1087, 1. 18-19.

316 (C.308; K.XXI1.302). + Cf. BhP, p. 108b. 1. 20-21.

317 (C.309; K.XX1L303), 1 That is, in irony (sollunthana-bhastta), See SD. 107.

५ XK. reads 317b as नःकीरंमिता काया बहवोऽपि नारके,

318 (C.310; K.XXIL304). | K. reads 8180 as wRictady रतिसंभोग- खेदनम्‌.

319 (C.311; K.XXI1.307). 1 ए, repeats before this 2772 and the following RRC एवमेष खततत्रायपरकरमो भवेत्‌ and XXII. 278 afterwards.

320 (C.312; K.X XII 308). $21 (C.313; K.XXI1.309).

61

462 THE NATYASASTRA [ XXIV. 829.

399 When celestial wonien unite with human beings

Ouse

they are to assume all the States of a mortal.

323. When celestial women sustain a fall [from the heayen] due to a curse, they are to be united with human males and should be approached in a suitable manner.

324. [Remaining] invisible, she should tempt them with her voice and with [the scent of] flowers in her decoration and then revealing herself for a moment she should disappear?,

325. Infatuation in a play grows out on coming to have dresses, ornaments. garlands [of ITeroines] and letters [sent by them],

326. Love growing out infatuation will be pleasing, and that [love] which is natural will bring about different enjoyments.

327. Being reduced to human existence celestial males should assume all the States which are proper for men and should behave like them.

328. This should be the practice in connexion with kingly Etiquette in relation to the harem. The Etiquette in relation to the outsiders will be treated in rules regarding Courtezans (va isika).

Here ends Chapter XXIV of Bharata’s Natyasistra which treats of the Basie Representation

322 (0.314; K.X XII 310), 328 (C315; KXXI131)).

324 (C3816; KXXIL312). | Read pralobhayet (paulo bhavet, K. “trip ya bhavel, (१,

325 (C.317; KX पा). 326 (C.318; K.XXIL314).

827 (C319; K.XXIL315), 328 (C,820; [९.९ शा.)

CHAPTER TWENTYFIVE DEALINGS WITH COURTEZANS

The definition of a Gallant

1, One excelling (vigesmyet)? in all the arts (hula)? is called a Gallant (vaigita) or one is so called because of his dealings with the courtezans (vefyopacara)®.

2. A man who has learnt all the arts (षह्य and is an adept in all the crafts (Sipe)? and can [besides] captivate the heart of women, is called a Gallant’.

, Qualities of a Gallant

8, His thirtythree [characteristic] qualities are briefly of three classes : physical, extraneous (21204) and psychological (sehaja, lit, natural),

4-7. One who is well-versed in the Sastras, skilled in arts and crafts, well-formed, pleasant-looking, powerful, possessing self- command, desireable age, diess and pedigree, is friendly (surabhi),

1(C]; K.XXIIL1). ' This is an instance of folk-ctymology. (1 the base of the participle visesayet should have given rise 10 varsesika and not to vaisika. Sce BhP. p. 106, 1-10.

५ These are gencrally considered to be sixtyfour in number. See Vitsyayana. KS. 1. 3.34 But the Jains have their number as seventytwo (See Amulya Chandra Sen, “Social Life in Jain Literature,” Caleutta, 1933, pp. 12-15).

४ 'Phis ctymology is rather sensible. For vega (residence of courte- zans) is conneeted with पदक (woman who is available for all the members of the tribe or the settlement).

2 (C.2; K.XXIIL2), ` See above 1 note 2.

2 ‘The word 2adé is usually synonymous with Silpa. For the most of the sixtyfour items included by Vatsydyana 0.0.) are nothing but crafts. But when the two words are used ‘together in a sentence $ilp@ may be taken in the sense of ‘craft’ only.

४ Another name for vaisike (Gallant) seems to be vla, bee KS, 1.4.16; 87.80 and also NS. XXXV.74.

3 (C.8; ए. 1.3).

4-7 (6.47; KX XI11L4-7). 4 Seo BhP, p. 106, 1.2-%

484 THE NATYASASTRA [XXY. 8-

sweet-tempered (madhura), munificent, patient, free from bragging, fearless, accustomed to use sweet words, clever, prosperous, clean [in his habits] expert in the practice of love, honest, able to act suitably to time and place, speaker of no pitiful words, accustomed to speak smilingly, eloquent, careful, swect-tongued, greedless as a partner, full of faith, firm in resolve, without trust even in accessible (gamya) women and has a sense of self-respect, is called a Gallant.

8. [According to another authority] his six [special] qualities are : that he should be devoted [in his love affairs}, clean [in his habits], self-possesscd, honest, intelligent and able to talk on varied topies (citra@hidhayi)}.

The female Messenger

9-10. A wise woman, female storyteller, a female ascetic or a woman of the stage’, an intelligent woman, a female neighbour, a female friend, a maid-servant, an unmarvied girl, a crafts-woman?, a foster-mother, a nun® or a female fortune-teller [ean be employed as] a Messenger (liti)*.

Qualities of the Messenger

11. A wise person should never engage as a Messenger any persons (lit, male or female) who is foolish, beautiful, wealthy or discased?.

12. Any woman should be engaged as a Messenger when she knows the art of encouraging [the beloved], is sweet in her words, honest, able to act suitably to the occasion, charming in her behaviour and is able to keep secrets'.

8(C.8; K.XXIIL8). ' Read 8b as wifeafauet wa तख गुणा मताः (भेच्छदरामिशयौ, C; भेच्छिदरापिपाबी.ट, and Ag. lave the correct reading).

9-10 (C,9-10; K.XXIIL9). ' 4८. (p.480) explains raigopajiotni as rajakastri,

* Cf. DR. IT, 29; SD. 157 separate the words Aira and S1lpin. * A nun of the heretical scets like the Buddhists. See note 4 below. * CES. ४. 4. 93.

11 (6.11; KAXXMIT10) ? K, reads 119 differently. Cf एर. p94 (19-10),

,12 (C12; K.XXU11). 1 €, KS, 1.5.28; SD. 158.

-XXV. 20 DEALINGS WITH COURTEZANS 465

Functions of the female Messenger 13. She should encourage [the beloved one] by mentioning the various ways of seeing [the lover] and should communicate the exact words [of the latter] and describe his condition?,

14. Besides this the Messenger should make an exaggerated statement about his birth, wealth and [capacity for giving] love’s enjoyment and say what [various] acts should be done [10 facilitate the एणा],

15. The Messenger should in various ways bring about for the man an Union with a woman who is in love for the first time or a beloved woman who has been angry with him?.

16-17. The first meeting of men [with women] may be made on a festive occasion, during night, in a park, in the house of a kinsman, a foster-mother or a female, or in a dinner-party (nimantrana), on the pretext of sceing a sick person, or in an empty house*.

18. After meeting a woman in one of these various ways one should ascertain from different marks whether she is friendly or not. The woman overcome with love

19. The womon who from her nature is smitten with love and does not conceal her amorous behaviour {at the sight of the beloved] is said to be “overcome with love” (nadnatiura),

The attached woman

20-28, When a women speaks of her lover’s a[good] quali- ties to her friend, gives him her own money, honours his friends, hates his enemies, seeks to unite with him, becomes much pleased to sce him, looks pleased after a talk about him, sleeps after he has slept, kisses after he has kissed her, rises [in the morning] before

14(C 14; K.XX111.13), " Cf. KS. 1. 5.28, BhP. p. 94, 1.11-13.

15 (C.15; K.XXI14). 1 CE BhP, p. 94, 114-13,

16-17 (C.16-17; K.XXII1.15-16). + Ag. 0, 480) says marsfaar® वैश्या पुनरभुसङ्गमे faa: 247. 711. p. 44 116-19

18 (८.18; K.XXIL17). 19 (८.19; K.XXTIL19).

20-23 (C.20-23; K.XXIIL.19-22), `" See BP. p. 115, 12-8.

486 THE NATYASASTRA [ XXV. 24-

happiness and misery and never becomes angry, she is said to be “attached” (anurakta)!. These indicate her characteristics. The hostile woman

94-27, The characteristics of a hostile woman are as fol-, lows: when kissed she wipes off her mouth, speaks unpleasant words, becomes angry even when sweet words have been spoken to her, hates his friends, praises his enemies, lies down on the bed with her back turned against him, goes to bed first, is never pleased even after a great deal of honour {has been shown her], never puts up with suffering, becomes angry without any provocation, does not look at him or grect him. The woman who betrays these signs should be marked as “hostile” (virahda),

Winning back of woman’s heart

28-29, [The following measures may lead to] the winning (lit. taking) back of women’s heart? : constant effort [ this diree- tion], display of wealth, showing of good-will, proposal of giving money?, [actually] giving money, giving up the service of Messenger (lit. intervention)*® and tranferrence of attachment (bhacopakseyt),4

Causes of hostility

30-31. A manor a woman becomes hostile to the lover due to poverty, sickness, misery, harshness, want of learning, going abroad, offended self-esteen, excessive greed, transgression [of good conduct], coming back late {at day or night] and resorting to undesireable acts.

Acts wiuning women’s hearts

32. In connexion with love, one’s acts should be capable of winning the heart (lit. attachment) of women. Due to such acts

ee a (= = (ध gefees) nee

24-27 (C.2-4-97; K.XXTI.28-26a). | BhP. p. 116. 1, 4-5, 13, 6, also 7-12, 14-19.

28-29 (C.28-29; K.NXXIIL26b-28a). 1 Read 28a ag BIBT सुरया व्यापारकषटितम्‌, . 2 Ag. (p. 481) cxplains this as follows: Sasa दःलामीति उपन्यासः,

१ Read vyavadhiniun for wvadhitanam, त, vyadhilo yah. K. Ag, (7, 481) explains this as भवते कदाविदनुरक्तल शरङ्नासौति कथनम्‌, 30-31 (C.30-31; KAXXU8b-30a), ? Cf, BaP, p. 117. 1. 8-11, 32 (C32; K.X XJ, 30b-31a),

-XXV, 42] DEALINGS WITH COURTEZANS 487

a woman may be kept out of anger and even if angry she may be pacified.

33-85. A covetous woman should be won over by [making her] a gift of moncy, a learned woman by knowledge of arts, a clever woman by sportfulness, a sensitive woman by acfing 10 her desire, a woman who hates man by stories to her liking, a girl helow sixteen (hala) by a present of playthings, a terrified woman by cheering her up, a proud woman by servile attendance and a noble lady by the practice of arts*. ।

The three types of woman

36. Women, are by nature of three classes : superior, middling and inferior. : The superior woman

37-39. ‘The woman who remains unperturbed when she has been offended, does not use harsh words to her beloved, has a short- lived anger, possesses skill in arts and crafts, is desired by men णिः her high birth, wealth, capacity for giving enjoyment and the like, is an expert in the acts of love (t@matantra), is honest, possesses physical charm, becomes angry only when there is a [proper] cause, speaks without malice and knows the proper occasion [for all acts] is of the superior class (षोः,

The middling woman

40-41. The woman who desires men and is desired by men, is skilled in the acts of love, jealous of her rivals, is overeome with malice and has a short-lived anger, is proud, aud ean he pacified in 2 moment, is of the middling class (madhyamna)*.

The inferior woman

42. The woman who is angry without a suitable cause, ill- natured, very proud, fickle, harsh and remains angry for a long- time, is of the inferior class (w!hama)*.

1 Read 820. as yena ca private cto. ।

33-35 (C.33-35; KX XIIL315-33). | KC. omits. ५५६,

36 (6.36; K.XX1I1.34).

37-39 (6.37-89; K.XX1IL35-37), + Cf. BhP. p. 102, 1. 1-5. 40-41 (C.40-41; K.XXIIL38-39). =" Cf. BhP. p. 102, 1. 6-9. 42 (0.42; K.XXIL40). 1 Cf, BhP. p. 102, k 10-13, ।

488 । THE NATYASASTRA [ XXV. 43-

The four stages of woman’s youth 43. The youth of women when they have tasted love’s pleasures is manifested in four stages through dresses, limbs and their movements as well as [inner] qualities’. ‘ The primary youth 44. The primary (jrathama) youth which has an enthusi- asm for sexual acts, is characterised by plump thighs, checks, hips, Jips and firm breasts which are conducive to (lit. charming in) love's pleasures?. The secondary youth 45. The secondary (dirtiya) youth which affords the best pleasure of love is characterised by full and round limbs, plump breasts and slender प्रप, The tertiary Youth 46. The tertiary (frtiya) youth which creats the utmost bril- liance [in women] is full of all kinds of beauty, exciting sexual desire and is maddening and rich in various qualities’. The quartenary youth 47-48, The quartenary (evturtha) youth which is the enemey of love's pleasure, comes when the primary, the secondary and the tertiary youths have gone by [one after another} Tt is charac- terised hy reduced physical charm due 0 sunken (lit, pale) cheeks, hips, lips, breasts as well as lack of enthusiasm for sexual acts}, Behaviour in the primary youth 49 A woman in her first youth is to be known as one who cannot take much pains, is neither pleased or displeased with her rivals (females), and is attached to persons of mild qualities?. Behaviour in the secondary youth 50. A woman in her secondary youth takes offence lightly,

43(C. 43; K.XXII41). ` Cf. BhP. p. 103, 1. 10

44 (C.44; K.XXIIT.42). } Cf, BhP. p. 103, 1. 11-16,

45 (0.45; K.XXTI1.43). } Of. BhP. 7, 104, 1. 2-11.

46 (C46; K.XXUL44). ' Ch BhP. p, 104 1, 13-14, 47-48 (C,47-48; K. XXTI1.45-46), 1 Cf. BaP. 105, 1. 1-6, 49 (6.49; (रवा). 1 CE BP. 7. 104, 1. 2-6.

50 (6.80; K.XXITL48).

-XXV. 56 J DEALINGS WITH COURTEZANS ` 489

and her anger and malice is also not great, and in her anger she remains भाला, Behaviour in the tertiary youth 51. A woman inher tertiary youth is an expert in love's pleasures, full of malice for her rivals, has many qualities and is not secretive about her proud acts?. Behaviour in the quartenary youth 52. A woman in her quartenary youth is capable of capti- vating a man, has no malice to her rivals even if she is an expert in love’s enjoyments, and she alvvays desires to remain unseparated {from her beloved]?. Five types of men 53-54. These are the four stages of youth for the Heroine inadrama. J shall now describe the types (lit. qualities) of men with regard to their love-affairs (Kamitantra), With reference to their dealings (lit. application) with woman they are of five types, such as “excellent” (eatira, lit. clever), “superior” (पणो, “middling” (madhyama), inferior” (रद), and “too old” (sampraryddha)?, : The excellent man 55. A man is to be known as “excellent” when he is sym- pathetic, able to endure hardship, skilled in pacifying anger in con- nexion with love, expert in sexual acts and is honest. The superior man 56-57. A man is to be known as “superior” when he does not do anything displeasing, is exalted ((hirodatta)', sweet-tongued, dignified, and knows thoroughly the mysteries of [human] feelings (lit. heart). One who is sweet [in manners], munificent and _ feels love, but is not overcome by passion, and when insulted by a woman gets disgusted with her, is [to be hnown as] a “superior” man. 1 Cf BhP. 1. 104, 1. 18-18. 51 (C.51; K.XXIIL49). |} Cf, BhP. p. 105, 1. 1-4, 52 (C.52; K.XXII1.50). ' Cf. BaP. p. 105, 1. 8-10, 53-54 (C.53-54; K.XXIII.51). | K, omits 58.

? Cf, BhP. 91. 1. 20. 55 (C.55; K.X XIII.52). 56-57 (C.56-57; K.XXI1J.53), = 1 The term is used in later elassifiea- tions of Heroes. Cf. DR. IL, 3-6a, BhP. p. 92 1. 2-3. ‘

62

490 THE:NATYASASTRA ` [XXV: 59.

The middling man

58. A man who takes in every way the [emotional] states of a woman with calmness and is disgusted with her on discovering any fault of her, is to be known as “middling”,

59. A man who makes a gift in proper time, does not haye much anger even when he is insulted, but on discovering her act of desceit gets disgusted with a woman, is to be known as “middling”.

The inferior man

60-61. A man who shamelessly approaches a woman with a steadfast love even when she has insulted him and loves her more strongly in spite of a friend’s advice to the contrary even when he has come to know directly of her deceit, is to be known as “inferior”.

The too old man

62-63, A man who does not care for fear or anger, is foolish, naturally inclined to women! (?), obdurate, shameless in acts of love, rough in love-quarrels [and] in striking connected therewith, a laughing stock (lit. play thing) of women, is to be known as “too old”,

Psychological approach to women

64. Women are of different nature! and their hearts are mysterious. Hence a wise ,man should know them properly before approaching them.

65. A man should deal with a woman according to the Science of Eroties (/amatuntra) after he has measured her feelings through different acts.

66. Such acts are: Conciliation (sama)?, Gift (pradana =

58 (0.58; K.X XTI1.54),

59 (C.59; K.XXJII.55), 1 K.reads this as follows: सर्वाय मध्यसो भाव- aed करोति नारीणाम्‌ । किदो दष्टा विरज्यते मध्यमध्यनीऽयमिति,

60-61 (C.60-61; KX XIII. 56-57),

62-63 (C.62-63; K.X XIII. 58-59), 1 Road brakytr-prasakta-bhiwas ca.

64 (C.64; K.XXIIL60). 1 श्व, ह, nimadila, त.

65 (60.65; K.XXTII61).

_ 66 (C.66; K.XXII1.62), ' Cf. BhP. p,2t4. 1. 7, These terms have

been from the Arthadistra, ६

XXV, 3] DEALINGS WITH COURTEZANS 49}

dana), Dissention (bheda), Chastisement (danda) and Indifference (1048) to women. Conciliation

67. Expressing one’s attachment by saying “I am yours”, “You are mine”, “I am dear to you and you are dear to me” is called Conciliation (sama).

Gift

68. Giving wealth, according to the measure of one’s property as occasions arise, and concealing the same under some pretext is called Gift (prada@na = 06/04}.

Dissention

69. Showing the faults of one’s dear one by some device is Dissention (bheda).

Chastisement

Restraining one’s movement or beating one is called Chastise- ment (anda).

Application of Conciliation and Gift ete.

70. An indifferent woman is to be re-united by Concilia- tion, a covetous one by giving wealth, and a woman attached to another person should be won over by Dissention.

21. When from her indifferent attitude a woman begins to behave wickedly? she should be chastised with slight beating, und restraint of her movement.

72, IE after an exaustive adoption in due order of means such as Conciliation and the like, a woman does not come under control then a clever man should be indifferent to her.

Reading a woman's heart from her behaviour

73. It is from the expression of her face or from her eyes or from the movement of her limbs that one is to know whether 2 woman hates a man or loves him or is indifferent to him.

67 (6.67; K.XXII1.63).

68 (C 68; K.XXJ11.64). * That is, in joys and sorrows (Ag.).

69 (C.69; K.XXII1.65), 70 (C.70; K.XXII1-66).

71 (C.71; K.XXI0L67), | Ag. explains this as desantaralpallayie yanam purusintara-gamanam.

72 (C.72; K.XXII1.68), 78 (0.73; K.XXIIL69),

492 THE NATYASASTRA [ XXV. 74

A courtezan’s mercenary treatment of men 74, Courtezans except when they belongs to gods or the king arc always available for money to a man whether he is dear to them or not.

75-76. [To them] a man [giving moncy] becomes dear even if they hated him before, becomes dearer than ever if she already was dear to them, appears to be well-behaved even if he is wicked, and to be possessed of good many qualities even if has none.

On seeing him their eyeballs dance [in joy] and they smile as it were with cyes, and due to simulation of [proper] feeling their faces put up a pleasant colour.

77. Hence after understanding the feeling or its want in women one should approach them according to the methods men- tioned in the Science of Love (4amatantra)},

78. Passion arises in them after they have been treated properly or they have been separated after the first Union just as fire comes out of the wood,

70. ‘This is the traditional method of dealing with women so far as Gullants are concerned, ‘This should he utilised 11 suit- wble measure in the Nataka or the Prakarana.

80, This isthe method of dealing with courtezans to be followed by the experts. Now listen about the Special Re- presentation. :

Here ends the Chapter XXV of Bharata’s Natyasastra, which treats of the External Manners.

74 (C.74; K.XX1IT.70),

75-76 (C.75-76; KX XIII.71-72),

77 (रक्वा). +. omits this passage which is merely a varinnt of 65 (K.61).

78 (C.77; K.XXIII.74). 79 (C.78; K.X XJII.75).

80 (C.79; K.XXII.76).

CHAPTER TWENTYSIX SPECIAL REPRESENTATION Special Representation

1. The peculiarity (vi8esa) which [is required] from time to time one in the use of Gestures and Words etc?, and which has yet been left unmentioned is known as the Special Representation (citrabhinaya)?.

Day, night and scason cte.

९4, To indicate morning and evening, day and night, seasons’, extreme darkness, wide expanse of water, directions, planets, stars, and anything that is slightly fixed, one is to make the following gestures: two hands raised with Pataka® and Svastika® gestures, Udvahita head* looking upwards with various eyes [fitting each occasion}.

Objects on the ground

5. With same? gestures of the hands and 0 the head to- gether with the eyes looking downwards one is to indivate [objects] resting on the ground.

Moonlight, happiness and air cte.

6. To indicate moonlight, happiness, air, flavour (rasa) and

smell, one is to use gestures for representing touch and horripiliation.

1(G.1; KXXV.1). 1 Aigédyabhinayasyitva, K (Aigibhinayana- sycha, Cs).

? Ag. (p. 487) makes a scholastic discussion on the justification of the term crtrabhinaya. But this does not appear to be convincing. The term scems to hint at the pictorial effect of the direct or indircet use of gestures and may be explaincd as cilratvam abhinayasaya, 8९९ NS. XXIV, 1 note

2-4 (C.2-4; KXXV.24). 1K. reads 90 as जनन यलतान्‌ BART ote. and 4 as दिशो ग्रहान्‌ सचत दृषटययु HAD Ree तान्धैवसभितो.न)यानि नानाभावरसराथेतः,

* See NS. 1X.17-26 =» See Nb, 1X.134 * See Ns. णाध

5 (८.5; K.XXV.5). ` As deseribed above,

6 (0.6; K.XXV.6).

494 THE NATYASASTRA [ SXVI. 7-

The sun, dust and smoke ete,

7. To indicate the sun, dust, smoke and fire one is to cover one’s face with clothes. And heat of the ground and heat [of any other kind] are to be indicated by a desire for a shady place.

The midday sun

8. The mid-day sun is to be indicated by looking upward with half-shut eyes, and the rising or the setting sun by a represen- tation of the idea of depth.

Pleasant objects

9, To indicate anything pleasant and happy, one is to use gestures for representing the touch of one’s body together with horripilation.

Sharp objects

10, And to indicate things of sharp nature one is to use gestures for representing touch of one’s limbs and uneasiness and to narrow down his mouth.

Deep and exalted feeling

11. 10 indicate these in connexion with deep and exalted feelings one is to have the Sausthava* of the limbs and a display of pride and conceit.

Necklace and flowers ete

12. To indicate a necklace and a flower garland one is to hold the two Arala hands? in the place where the sacred thread is held and then to separate them from the Svastika? position,

The idea of entirety

13. ‘To indicate the sense of “entirety” one is to move on

the index finger, look round and press the Alapallava hand?. Audible or visible objcets

14. To indicate anything audible or visible whether it re lates to the speaker or to the person spoken to, or to anyone else, one should point to the ears and eyes respectively.

7 (तः K.XXV.7). } Rajo-dhiuniinalams tathi, ©. (rajadharmi- nilau tatha. K). 8 (0.8; K.XXV.8). 9 (C19; K.XXV.9). 10 (C.10; K.XXV.10). 11 (6.11; K.XXV.1). " See NS. 12.88.91, 12 (6.12; K.XXV.12). 1 NS 1. 46-92 * See NS, 1९.134. 13 (C.13; K.XXV.13). T See NS. 1X.90, ` 14 (6.1५; K.XXV.14).

XXVI. 22] SPECIAL REPRESENTATION 495

Lightning and shooting stars etc.

15. Lightning, shooting stars, thunder, sparks [of fire] and.

flame should be indicated by. relaxed limbs and vacant eyes, Repugnant objects

16. To indicate anything repugnant to oneself, one is to practice Udvestita? and Paravrtta( - Parivartita)? Karanas of hands and to bend the head and to look obliquely, or to avoid contact,

Hot wind and heat ete.

17. To indicate hot wind, heat from the sky, warding off

of dust, rains, insects and bees one should cover one’s face.

Lions and bears ete.

18. Lions, bears, monkeys, tigers and other beasts of prey should be indicated by holding Padmakoga? hands downwards in the form of a Svastika.

Worshipping superiors

19. To indicate worshipping the feet of the superiors (guru) one should hold Tripatika? and Svastika? hands, and taking up of the goad or the whip should he indicated by Svastika and Kataka {mukha]® hands.

Numerals

20-21. Numerals from one to ten should be indicated by fingers [of equal number} Multiples of tens, hundreds and thousands are to be indicated by the two Pataka™ hands,

29. Any number aboye ten should be indicated indirectly and along with the general meaning of the sentence which includes it (?).

15 (6.15; K.XXV.15).

16 (C.16; K.XXV.16). ? See NX. IX 208, 2 NS, IX.210. 17 (C.17; K.XXV.17).

18 (C.18; K.XXV.18). 1 Sce NS. IX.80.

19 (0.19 K. XXV.19), 3? See NS. 1X.26-32, = ° See NN, IX.134, 3 Soo NS. IX.61-64. 20 (C.20; K.XXV.20).

91 (C.21; K.XXV.21) , (८.४४ K.XXV.29),

496 THE NATYASASTRA [ XXVI. 28.

_ Umbrellas and banners ete.

२३. Umbrellas?, banners and banner-staffs and the different weapons should be indicated by representation of the holding of any staff.

Memory and meditation ९6,

24, Memory and meditation should be represented by in- dicating attention, downcast eyes, slightly bent head and the left hand with the Sandaméa™ gesture?.

Height

25, Height™ should be indicated by the representation of offspring through making the head Udvahita? and the hands Hamsapaksa? on the right side.

Past and cessation cte.

26. The idea of past, cessation, destruction or words listened, is to be indicated hy carrying from the left the Arala? hand on the head.

The autumn

27. Autumn should be indicated by representing a compo- sure of all the senses, tranquility of all the directions anda view of different fowers,

The carly winter

28. Early winter (दधतत) should be indicated by the superior and the middling characters through narrowing down their limbs and secking the sun, fire and [warm] clothing.

20 The same should be indicated by the inferior characters through groaning (कुक) clicking (कण) and trembling of the head and the lips and the chattering of teeth,

23 (C.23; KXXV.23), 1 chatra K. (citra. ©.)

24 (C.24; K.XXV.24). 1 1, reads 24b ag gala wees! a data faa,

2 See NS. 1X.109.

25 (C.25;" K XXV.25), 1K. reads this couplet as उदाहतं fine: कृवा carey अधोध्वगम्‌। प्रासादसुद्यासागं Ae, गै च fafeda,

° Seo NS, VIIL97. 3 See NS. 1X.103, 26 (C.26; KXXV.96), । Srude, 0, (Sriinte-K,), 9 Soo N& IX.46-52 27 (0.97; [९.९ रए). 28 (0.28; K.XXV.28).

29 (C.29; K.XXV.29).

-XXVIL 36 J SPECIAL REPRESENTATION 497

30. The superior characters also may soinctimes indicate the winter in this manner if due to accident they are in a miserable condition.

The winter

31. One is to indicate the winter by the representation

of smelling the flowers, drinking wine’ and of feeling an un-

pleasant wind, The spring 32. The spring (vasanéa) is to be indicated by the represen-" tation of acts of rejoicing, enjoyments and festivities and a display of various flowers. The summer 38. The summer isto be indicated through the repre- sentation of the heat of the earth, fans’, wiping off sweat and

fecling the hot wind. The rains

34 The rainy season (11298) is to be indicated through the representation of the Kadamba, the Nimba and the Kutaja flowers, grecn grass, Indragopa insects and groups of peacocks?.

The rainy night

35, A night in the rainy season? should be indicated by the loud sound of the masses of clouds, falling showers of rain, as well as lightning and thunder.

४ Seasons in general

36. Each season should be Indicated by the sign, costume, activity or scenery which is proper to it or whatever is [specially] desired or avoided (lit. undesired) in it.

30 (6.80; K.XXV.30).

31 (C.31; K.XXV.31), ` Emend madhudinint into madhupinit; seo RS, ए, 5 and 10. 32 (6.39; K.XXV.32),

33, (C33; KXXV.33). 1 saviganach, K, (suvijanath, ©).

34 (C.84; K.XXV.34). 1 K. reads 34b as #8a7&: Geet: cto.

35 (0.38; K.XXV.35). 1 varsiratram, C, (varsirambham K.)

36 (0.36; K.XXV.36).

498 THE NATYASASTRA [ XXVI, 8%

37. These seasons according to the necessity should be indi- cated with proper Sentiments? as being full of happiness for those who are happy, and full of distress for those who are afflicted.

The States

38. The States (ara)? should be indicated by the re- presentation of the Determinants (vihara)? and similarly the States are also indicated (lit. accomplished) by the representation of Consequents (anwhhara)*,

The Determinants

39. Acts connected with the Determinants should 06 16 presented by means the Consequents ; and the States relate to the feeling of one’s own self, and the Determinants relate to an exhibition of another person [in relation to the self].

40 A preceptor, « friend, an affectionate companion (sakha), a relation from the mother’s or the father’s side who may come and be a announced? [properly] is called a Determinant?.

The Consequents

41. The honour shown to him? by rising from the seat, by offering him presents (aryhy) and a seat and by using respectful words, is called the Consequents (anwbhava),

37 (C37; KXXV.37), + prajuiyiti yathirasam, C. (darkayed virahinugan'K),

38 (C.38; K.XXV.39), ' K. reads before this the following : यो a wage: षुखदैनेतरेप वा। स तदादिितरंलारः सवै wafa तन्मयम्‌. (He who is imbued with a state pleasant or otherwise, looks under its influence everything as permeated with it). Besides this K. reads 38 as follows: fangared कायेनभा निदपणात्‌। तयेव चालुभावानां भावानु च, For the def. of bhava see NS. णा. 1-3. * Sco NS, VII. ® Seo NS, VIL 4-5,

39 (© 39; K.XXVA0). | Ag. (p. 491) reads déminubhavanam for atmibhinayanam in the text and explains the same as ऋतमानुभवनं भाव ATS Feary यदनुभवनं See खभाव इद्धः । आतमगरहणात्‌ घटादानुभवनं भाव see भवति िच्चमन्य पठन्ति। तताः भ्राकमातुभाव्यगत धेन न च TER यतन्तोति प्रकषण गम्यते ते यद्गष्वषाधै चैत्‌ दब्छमतुभूयते सुखादिकं तदेव भाव tex भवति,

40 (0.40; K.XXV.4l), 1 Ag. (Ie) scems to read lives ya for avedya.

* This is only an cxample of ono of the many wv7bhavas which may lead to one of the many States.

` 41 (6.41; K.XXV.42), 1 One of the persons mentioned in 40 above.

-XXVI. 50] SPECIAL REPRESENTATION 499

42, Similarly in other cases also, from an observation of different incidents [in a play] one should find out the Determinants and the Consequents from actions [related to them].

43. Reply toa message given to the Messenger is [also] called a Consequent.

44, In these ways the States, the Determinants and_ the Consequents are to be represented by men as well as women.

Gencral directions for the representation

45, In the representation of their own nature,. men should assume the Vaisnava posture (कको and woman the Ayata? or the Avahittha® postures in relation to [appropriate] actions.

[But] there occurring special need for the same, other postures may [also] be introduced for the representation of different States in special (lit. different) types of plays

Men’s and women’s efforts

47, प्रणि of men should be characterised by patience as

well as sportive limbs, and those of women hy delicate Afgaharas.? Women’s movements of limbs

48. Women’s movement of hands, feet and other limbs should be graceful (alia) while men’s movement of these should he restrained (Aira) as well as vehement (wddhata)?.

Meanings of words

49, Representation of the meaning of words are to be made differently by men and women. I shall explain them in. detail in connexion with the States and the Consequents.

Joy 50. One should indicate one’s joy (haga) by embracing the {other's} body, by smiling eyes as well as by horripilation?. 42 (C.42; ए द शप्र). 48 (C.43; K.XXV.44). 44 (0.44; K.XXVA5). 45 (C45; KXXV.46), + See NS, X151-52. * See NS. XIIL.157-170. =» See NS. 110 46 (K.XXV.47). 47 (C,46; K.XXV.48). + Sce NS. IV.1704f. 48 (C.47; K.XXV.49), 1K. adds after this one additional hemistich, 49 (C.48; K.XX,V.50b-51a). 50 (049; K.XXV.51b-b2a), + athollukasana, K. (tathalpakatha'';

500 THE NATYASASTRA [ XXVI. 51-

51. An actress (nartuki) should indicate joy by sudden

horripilation, tearful eyes, smiling words and a loving attitude. Anger

52. One should indicate anger by upturned red eyes, biting

of lips, [deep] breathing and trembling limbs. _ ealous Anger of women

53-54, Jealous Anger (irsyakrodha) of women should be indicated by tearful eyes, touching of the chin and the lips, shaking of the head, knitting of the eye-brows, keeping silent, curling of the fingers, leaving of garlands and ornaments and assuming the Ayata posture (दको,

Men’s sorrow

55. Men’s sorrow should be indicated by much breathing and sighing, thinking with a downcast face and looking up towards the sky [in a pensive mood].

Women’s sorrow

56. Women’s sorrow should be indicated by weeping?, sighing, beating the breast, falling on the ground वात्‌ striking [the body against] the ground,

87 Crying’ which has been mentioned before as arising from tears of joy and from jealousy should be applicd in case of women and of the inferior male charaeters.

Mon’s fear

58, Men's fear should be indicated by acts of consternation (sumblrauc), and of dismay (wlregu), fall. of weapons [from their hands}, loss of self-control and the like,

Women’s fear 09-60, Women’s fear should be indicated by eyes with "51 (तकः K.XXV.596-584). 52 (0.51; KXXV.83b-34a), 53-54 (C.52-53; K.XXV.54b-56a). + Soe NS, XITL157-170,

59 (C54; KAXXV.56b 57a),

56 (0.55; K.XXV S7b-58a), 1 ruditaty Svasitaih (ruditat$ ca smt- “ais, 0. ruditach Svasanath, K.). `

57 (C.56; K.XXV.58b-59a), 1 ruditam, K. sahitam, C.

58 (C.57; K.XXV.59b-60a),

59-60 (C.58-59; K.XXV.60b-62a).

-XXVI, 67.) SPECIAL REPRESENTATION 501

moving eyeballs, throbbing and shaking limbs, glancing sideways for fear (lit. terrified heart), looking for someone to rescue them, weeping loudly and putting their arms round the man [staying close by].

Women’s intoxicated condition

61. Intoxicated conditions (lit. intoxication) which have been mentioned before should be applied to women, and men of the inferior type. Adoption of gestures (lit. form) in such cases should be delicate and graceful.

62. Women’s intoxication should be indicated by rolling of eyes, uttering of irrelevant words (vilupu = pralapa) and shaking of limbs.

6:, These are the rules to be followed ina theatrical pro- duction for the representation of men’s or women’s States when occasion for these will arise.

64, Ina theatrical production the States of women are all to be made graceful (दद) and that of men endowed with Self- control (dhairya) and Equanimity (madhurya).

Parrots and Sirikis

65. Parrots, Sarikas and small birds like these are to he

indicated by two moving fingers in the Tripatika hand. Big birds

66. But birds like peacocks, cranes and swans — which are naturally big are to be indicated by proper Recakas and Ahgaharast.

Asses aud camels ctes

67, Asses, camels, clephants, tigers, cows, buffaloes and the like should be indicated by Gaits and gestures [suitable to them]?.

61 (C.60; K.XXV.62b-63a). 62 (C.61; K.XXV.63b-64a).

68 (C.62; K.XXV.64b-65a), 64 (C.63; K.XXV.65b-66a).

65 (C.64; K.XX V.66b-67a).

66 (C.65; K.XXV.67b-68n). ` ह. reads 66b as varmtercafafrefaaar: परयोभिः,

67 (८.66; K.XXV.68b-692). 1 ए, reads this as follows: @iy aiswa- तरान्‌ fevers) महापशूनङहाररीतिनिशच परदभयेत्‌,

502 THE NATYASASTRA [ XXVI. 68.

[आ and Pigacas ९४6.

68-69. Bhiitas, Pisicus, Yaksas, Dinavas and Raksasas when they are not visible should be indicated by the Angahiras. But when they are visible they should be indicated by [the repre- sentation of} fear, dismay and astonishment}.

70. When they remain invisible, gods are to be indicated according to the necessity by making obeisance to them and by movements suitable to the States.

Greeting an invisible person

70-71. Greeting a man when he is invisible is to be indi- cated by touching the head with the Arala hand? raised from the side.

Greeting gods and superiors te.

7172, Greeting gods, superiors (yur), and ladies is to be indicated by the Katakavardhamina? or the Kapota hand? [touching the head similarly}.

72-73. Gods and honourable persons when they appear physically should be indicated by obvisanee to them and by the deep influence [they have over the surroundings|.

A grect crowd and fricnds ete.

73-71. A great crowd, friends, Vitus and rogues are to be

indicated by means of the Parimandala (Uromandala)! hand. Mountains and tall trees ete,

74-75. Mountains in connexion with their height, and tall trees ave to be indicated by lifting upwards the outstretched hands. Wide expanse of water

75-76 A wide explanse of sea-water’ is to be indicated by two Pataka hands thrown out [side-ways], and heroism, haughtiness,

68-69 (C.67-68a; K.XXV.69b; 70b-71a), ¬ ए. adds after 68a the. weviifattem कम॑संकौरेनादपि, 69-70 (C.68b-69a; K-XXV.79).

70-71 (C.69b-70a; K XXV.73). 1 See NS. IX. 46-52. ,

71-72 (C.70b-71a; K.XXV.7-4), 'NS.IX.136. > Ny. 12.129.

72-78 (C.71be; K.XXV.75), ;

73-74 (C.72; KAXXV.76). ? See NS, 1X.196.

74-75 (C.73; K.XXV.77).

75-76 (C.74-57ab; K.XXV.78-79). 1 Emend उत्का into sigarambhasim.

-XXYVI. 8) SPECIAL REPRESENTATION 503

pride, magnanimity and growth upwards also should be indicated? by placing the Arala hand on the forehead.

77-78. The two Mrgasirsa hands! turned away from the breasts and held out quickly at x distance will indicate anything made open (aparrt)?,

. A house and darkness ete

(8-74. A house, darkness, a hole or cave is to be indicated by holding slightly stretched hands which have their palms upturned and which point downwards!.

Lovesick, cursed and possessed persons

79-80. Persons who are lovesick or under a curse, possessed of some evil spirit or enfeebled in mind hy fever, should be repre sented hy [suitable] movements of their face and other limbs?,

A swing ९

80-82. A swing should be indicated hy the representation of its movement, agitation of the limbs पात्‌ the holding of the strings. Tt is by acting like this (lit then) that the moving swing will he perceptible {to the spectators], and persons occupying their seats [just after representing ५ swing] ‘will be taken as moving in a swing.

82-83. T shall now speak of [the indication of] “Speaking to the Sky” (@@aracana), “Speaking Aside” (@mayata), “Concealed Speaking” (“pardeituka) and ‘Private Personal address” (jandi tka),

Speaking to the Sky

855. Addressing someone staying at a distance or not appearing in person or indirectly addressing to someone who is not close by, is called Speaking {0 the Sky (@asa-bhasita)4, This

° Road wera विनिर्दिशेत्‌ (K.) for vat किञ्चित्‌ प्रतारितौ

77-78 (K.XXV.80). 1 NS.IX.86.

2 (¢, omits this, but K’s reading is slightly corrupt.

78-79 (O.75e, K.XXV-8la-82b). | Read 78b as भधोसुखोत्ानतलौ vet किचित्‌ प्रसारिती, ¢, (किचित्‌ प्रदभयेत्‌, K.),

79-80 (C.76; K.XXV.83). 1 (र. reads 80a as एवं faut att Qa ast ad faafea:. 80-82 (C.77-78; K.XXV.84-85).

82-83 (C.79; K.XXV.86b-87a).

83-85 (C.80-81; K.XXV.97b-89a), ¬ भआकाशवचनाद्विनो) वादि दूरस्य म crafae- Tae सह माषणमेब अतएव fe भशरौरनिषेदनमिति परोक्तम प्रवि्टपास्रम्बनिन्योक्ततथानरितं व्यबडितं (Ag. p. 493)

504 THE NATYASASTRA [ XXVI. 85-

mode of speaking will present {the substance of] a dialogue by means of replies related to various (imaginery] questions (lit causes) which may arise out of the play?. Speaking Aside 55-86. When overwhelmed with excessive joy, intoxication, madness, fit of passion repugnanee, fear, astonishment, anger and sorrow one speaks out words which are in one’s mind (lit. heart), it is called Speaking Aside (@tmayata).

Conecaled Speaking And Concealed Speaking («pararitaka) is related to secrecy.

Private Personal Address 87-88, When out of necessity persons standing close by are [supposed] not to hear what is spoken to someone else, this constitutes Private Personal Address (jandntila)}. Thinking within oneself Tt relates to something within one’s self (lit, heart) which is a matter of deliberation? and fecling® and [which is] indeed a kind of Speaking Aside (atmayatn), 88-90. Words in a play, which are connected with secracy should be spoken in one's cars preceded by “so, so”.

Mentioning incidents that occurred already 90-91. When one is to speak from necessity of something

2 K. reads rasabhiwa’, 85-86 (C,82a; KXXV.89h-99). | Read the first three hemistichs as follows: भतिहपैमदोन्यादगगेपमवारटितः 1 विषयक्तोषद्‌ःखातिबशादेकोऽपि भाषते । were’ वचो यत्तु तदास्मगतमिथते,

87-88 (८. 82b-83; K.XNV. 9192-9). 1 It is beeause both the sanan-

112 and the epavaritaka ave supposed to be inaudible to others on the stage Ag. (p.424) quotes a view on their distinction as follows: Weary उभयमयेतजनान्तिकमेव यावतो दहि जनख तद्‌ वक्तव्यं तातोऽन्तिके सामीप्ये ages an त्यात्‌ प्र्‌ उद्य नोते भथ च परः पणो चयनवाशयो वचने तदपदारितकेत निगूद ण waaay संयुक्तम्‌,

And alate writer says: se यदृहत्तेकद्यैव गोप्यं बहनामगोप्य' तजनानिकम्‌ तदिपरौतम्‌- अरववारितम्‌, ND. 7.31. But all this dors कणं seem to fit in well with the ogamples of the epavarrtaka available in extant dramas. Cf, 146४, 7.61, 2 sarttarkam, ©, (savikalpam, K.). 3 bhavastham C. (bhavavasnd, K.). 88-90 (C.84 85; KXXV.93-94). 3 K reads 88 differently. 90-91 (C.86; K.XXV.98).

-XXVI. 95 ] SPECIAL REPRESENTATION 505

which has occurred earlier, for avoiding repetition thiy should be [similarly] spoken in one’s ears,

90-91. Without making any contusion (lit. mistake) (among these] one should resort.to Speaking to the Sky (akasa-vacana), Private Personal Address (janantita) and Speaking Aside (Gtma- yata) which will [relate sometimes] to a visible or an invisible person and [sometimes] to one’s ownself or others‘.

Representing Concealed Speaking

91-92, Concealed Speaking (apavaritaka) and Private Personal Address (janantika) should he indicated by a Tripataka hand covering [thé speaker].

Repetition of words

92-93, Words which are uttered due to fright, calamity, unger and intense sorrow are to be repeated?.

93-94. [In such cases] words such as “tell”, “well done”, “ah”, “alas”, “go away”, “what”, “let me go”, “no” and “speak” should be repeated twice or thrice”.

Suspension of representation

94-95. Distorted or incomplete words used [in a play] should not be represented by gestures‘ for explaining them (lit. for the sake of definition)?.

Observing proper States

95-96, The State (bhava) which is proper to a superior (character] should not be applied to a middling one; and similarly the State which is proper to a middling (character) should not be applied to an inferior one’.

90-91 (C.86; K.XXV.95).

1 Read this passage as follows: भन्यमिचारेण पठेदाकाए-ज्नानिकाकगतवाद्याम्‌। प्र्यचपरोदगताकरपुलयान्‌ wets (0, पादैः, एए. यादत्‌ for पठत्‌ ; ©. वाच्यः, K प्राढात्‌ for atara). The trans, is tentative.

91-92 (C.87; K.XXV.96). 1 Cf, DR.1.65b; BhP, p, 219, 1. 21-22; ` SD, 425. Lévi. ए. 61.

92-98 (C.88; K.XXV.114). | K. reads punaruktam na tesv tha.

93-94 (0.89; K.XXV.115), 1" K. reads 93b as साणहो qa wr Of fat fai ar agin

94-95 (C.90; K.XXV.114). 'K. ५५48 pratyangahinam, ©, pratya- Nerhitam, K, १ laksanakrte, ©, laksanakrtas, K,

95-96.(0.81,; K.XXV.118),

64

606 THE NATYASASTRA [ XXVIL 96

9u-97. By means of different States and Sentiments which “arise from movements proper to the superior, the middling and the inferior characters, a play will attain (lit. wish for) attractiveness, No movement in the state of sleeping

7-98. In the somnolent condition (svapnayita) the States should not be represented hy any movement of hands, As in the representation of the Temperament, this should he done through apeech (lit. the meaning of words) only’.

Deelamation in sleep

98-99. Declamation (pathya) in the somnolent condition should: proceed पीती a slow voice; words in it should be [sometimes] distinct and [sometimes] indistinct and sometimes their senses should he repeated twice, and it should [also] depend on the recollection of the past [events],

Declamation of old people

99-100. Declamation of old people should be made with a

faltering voice and dropping of syllables [now and then]; and Children’s words

that of children should be made with lisping (halasvara)

which will leave syllables unfinished? Dying declamation

100-101 — Indistinct declamation (ka/w) at the time of dying should be made with syllables produced by relaxed sand heavy speech-organs (karana); it should he a faltering voice resembling the sound of [small] bells and it should be accompanied by hiccough, [hard] breathing and [the action of] phlegm.

101-192, Occurrence of a swoon when followed by hiccough and [hard] breathing is considered similar to death. To indicate it the declamation should contain repetition!

96-97 (C.92; KXXV), | Read bhavarasair atmacestasamutthilatr (bhivacestair, K, cestasamanvitah, ©.)

97-98 0.98; K.XXV.97). 1 1.8 reading seems to have been as follows: ayfat वाक्याचैस्याभिनयो न खलु इलमश्चारः। स्ताभिनयनेनेव तु वाच्यायै; ete.

98-99 (C.94; K.XXV.98),

99-100 (C.95; K.XXV.101). | asamapataksaram, 0, but aspastavar- nasdmyukiam, K. 100-101 (C.96; K.XXV.99).

101-102 (C.97; KXXXV,100) 1 Read the passage as follows:

-ZXVI. 108 ] SPECIAA REPRESENTATION 507

Representation of death

102-103, Representation of death which may arise from different conditions will be of different nature. [For example] sometimes it is indicated by throwing out all the hands and feet, and sometimes by a paralysis of movement of all-the limbs?.

Death from disease

103-104. Death from an attack of disease should be represented by an occurrence of hiccough, [hard] breathing and imperceptible movement of limbs which should be relaxed!.

Death from drinking poison

104-105. Death from drinking poison should be represented by throwing out of hands and feet and other limbs, and the power of the poison will lead to the quivering action of the [different] parts of the body

The cight stages in death from poison

15-107. The first stage of the action of poison is the general weakness of the body, tle second tremor, the third a burning sensation, the fourth hiccough, the fifth froth [in the mouth], the sixth breaking of the neck, the seventh paralysis and the eighth death’.

Weakness

107-108. Eyes with sunken cycbulls [depressed] cheeks, lips, belly and shoulder and fecbleness of arms will represent [general] Weakness?.

Tremor

108-109. Tremor (vepathu) should be represented by shaking simultaneously according to the situation the. head, the hands and the feet or one of these limbs separately.

दिकञश्ाशोपेतो मूच्छोपगभो तु मरणवत्‌ कथयेत्‌ ¦ भनिम्‌(?)रतेषपि काय aredgremangeTy (freee. पेतैमेनवैदितं मूष्छैनं रयं कथनोयो oto, C 102-103 (C.97b-98a; K.XXV.102). | Read sanmass द gatrarh (sarvats tatha gatrath, C. samirais tathas kiryah, K.). 103-104 (C.98b-99a; K.XXV.103). । K. reads 104a as follows: व्याधिते हु भरणं विषदगातेश संप्रोक्तवयम्‌, 104-105 (C.99b-100a, K.XXV.104). 105-107 (C;100b-102a; K.XXV.105-106). " Read ९212104, K.(harya,C.) 107-108 (C.1025-108n; K.XXV.107). | pravtstatavake, C. णव dhértilake, XK). 108-109 (C.108be; K.XXV 108).

508 THE NATYASASTRA { XXVI. 109-

Burning sensation ।

109-110. Burning sensation (daha) should be represented by shaking violently the entire body, scartching the [different] limbs and throwing out the hands and other 1170081,

Hiccough

110-111. Hiccough (hitka) should be represented by re- peated blinking of eyes, belching, vomitting, convulsion (alsepa), and uttering of indistinct sounds.

Froth in the mouth

110-111. Froth (phena) [in the mouth] should be re- presented together with belching, vomitting, licking the corners of the mouth, senselessness and lack of movement of the eyes.

Breaking of the neck

111-112. Breaking of the neck (sirobhanja = gvivabhanga) should be represented by the shoulder touching the cheek and the lowering of the head.

Paralysis

Paralysis (iagata) should he represented hy inaction of all

the sense-organs'. Death

112-114. Death (दद) whether it is due toa growth of disease or to snake-bite should be represented, according to the dramatic convention (natyadharmut) by the closing down of the eyes.

114-115. These particular representations should be com- bined with suitable Temperament (sattva) and States (bhava)?, and

109-110 (C.104; K.XXV.109). 1 ए, reads sarvanga-vepanam vepa- thus tu for sarvingavepanod-vejanena, C). .

110-111 (C.105; K.XXV.110).

111-112 (C.106a; K.XXV.111). 1 ©, omits 112a and reads the passage as follows : उद्नारवमनयोगैः qaraeate confers: | Gaarafudqad frdtecarhaas,

112-118 (C.106b; K-XXV,112), 'C. omits 112b which ए, reads as follows: Venderalfecay foramfectart,

118-114 (C.107;K.XXV.118), 114115 (C.108; KXXV.119). 1 sa¢tvabhava, ©, for sarvabhiva, K.

-XXVI. 128 ] SPECIAL REPRESENTATION 509

[representation of] other popular [objects and ideas) should be learnt (lit, accomplished) from the people. . General directions

115-116. Just as the garland-maker makes garlands from various kinds of flowers, the drama should be produced similarly by gestures of different limbs, and by Sentiments and States.

116-117. Movements and Gaits that have been prescribed by the rules for a character which has entered the stage? should be maintained by the actor without giving up the [particular] Tempe- rament till he makes an exit.

117-118. Now I have finished speaking about the represen- tation to be made through Words and Gestures. Things omitted here by me should be gathered from [the usage of] the peoplet.

The triple basis of drama

118-119. The people, the Vedas and the spiritual faculty (adhyatma) are known as the three authorities. The drama is mostly based on objects related to the last two (the Veda and the adhyatma).

119-120. The drama which has its origin in the Vedas, and the spiritual faculty (adhyatma) and includes [proper] words and metre, succeeds when it is approved of by the people. Hence the people are considered as the [ultimate] authority on the dramat.

121, A mimicry of the exploits of gods, sages, kings as well as of householders in this world, is called the drama?,

122. When human character with all its different States is represented with [suitable] Gestures it is called the drama,

People supplying norm to the drama 123, Thus the events (vata) relating to the people in all

115-116 (C.109; K.XXV.120).

116-117 (C.110; K.XXV.121). | rangapravistasya, ©, ‘for ranga- pravrtlasya, K),

117-118 (C111; K.XXV.122). } ए, reads 117b as follows: wa82 मवा et भावा wierd प्रति, 118-119 (C.112; K.XXV.128).

119-120 (C.118; K.XXV.124). `" K. omits 120b.

121 (60.114; K.XXV.125). ' Sea NS. 1. 190 =

122 (0,115; K.XXV.126). 123 (C.116; K XXV.127).

510 THE NATYASASTRA ( XXVI. 194°

their diferent conditions, may be (lit, should be) included in a play, by those well-versed in the Canons of Drama (natyaveda),

124. Whatever Sastras, laws, arts and activities are connected with the human usage (Jokadharma) may be produced (lit. called) as a drama, = `

125, Rules regarding the feelings and activities of the world moveable as wel as immoveable cannot be formulated (lit. ascertained) exhaustively by the Sastra.

126. The people have different dispositions, and on their dispositions the drama rests. Hence playwrights and producers (prayokty) should take the people as their authority [as regards the rules of the art].

127. Thus they (prayokt;) should pay attention to the feelings, gestures and the Temperament in representing the States of various characters [that may appear in the drama]?.

128. The men who know in this order the art of Histrio- nic Representation and applies it on the stage, receives in this® world the highest honour for putting into practice the theory of drama (10401100) as well as [the art of] acting (abhinaya)!.

129. These are to be known as the modes of representation dependent on Words, Costumes, Make-up and Gestures, An expert in dramatic production should adopt these for the Success in his undertaking |*.

Here ends Chapter XXVI of Bharata’s Natyadastra which treats of the Special Representation .

124 (C.117; K.XXV.128). 125 (C.118; K.XXV.129).

126 (C.119; K. XXV.130).

127 (C.120). + K. omits this,

128 (C.121; KXXV.131). + 0, reads after this an additional couplet. 129 (6.12), ` K. omits this.

CHAPTER TWENTYSEVEN SUCCESS IN DRAMATIU PRODUTION

1, Ishall now describe the features of the two kinds of Success (xiddht) relating to the drama. For the production of a drama is wholly meant for (lit. based on) attaining the Success in it?,

The two kinds of Success

2, The Success {in the dramatic production] which arises from Words, Temperament and Gestures and which relates to various States and Sentiments is of two kinds: divine (daiviki), and human (कक),

The human Suecess

ॐ. [Of these two] the human [Success] has ten features, and the divine [Success] two ; and they (i. ९ such features) consist {mostly] of various Temperaments expressed vocally (vainay?) and physically क).

The vocal Sucecss

4, Slight Smile (काव), Smile (ardhahasa)* and Exces- sive Laughter (atilasa)°, ‘well-done’ (sadhn), ‘how wonderful’ (aho), ‘how pathetic’ (/‘astam), and tumultuous applause (pravrddhanada, swelling uproar) are the signs of the Success expressed vocally (1001712).

The physical Suecess

5. Joy expressed in horripilation (saromaicaspulaka),

the rising up from the seat (abhyutthan2), and the giving away?

1(C. ए, same), ` This chapter diseusses the appreciation of theatrical productions by spectators who include persons of various types posseasessing different psychological and cultural traits.

2 (©, ए, same). | vik-sattoanga. These three constitute tho Basic Representation. Sec Ns, XXIV. 3 (6, ए, same),

4(C K. same). 1 Sco NS. VI. 52.

2 The ardhahiva seems to be the same as asta, smile; seo note 1 above. 5 See note 1 above.

¢ (©, ए, same). ` The age-long custom in India.was that the wealthy among the spectators on being very highly pleased with a dramatic performance did at once’ take out from their own body the

512 THE NATYASASTRA [ XXVII. 6-

of clothes (celudana) and of rings (anguliksepa) are signs of the Success expressed physically (sariri).

6. When actors produce the Comic Sentiment slightly dependent on words of double entendre the spectators should always receive the same with a Smile (emita).

7. When they (ie. the actors) have a laughter not very

clear, or words which do not directly cause laughter the spectators are always to receive the same with a Smile (ardhahasya).

8. Laughter created by the bragging of the Jester or by some artifice (द) " should always be received by the spectators with an Excessive Laughter (atihasya).

9, [Representation of deeds] which relate to the practice of virtue and is endowed with excellence, should be greeted by the spectators with the word “well-done” (sadhu).

10. Similarly, “how wonderful” should be uttered by the spectators in connexton with States like Astonishment (vismaya) and in course of the Erotic, the Marvellous and the Heroic Sentiments.

11. But in the Pathetic Sentiment they should utter with tears “how pathetic.” And in cases of Astonishment there should always be a tumultuous applause (pravrddhanada, lit. swelling uproar).

12, In cases of insulting words used in acting a play they should be attentively received with horripilation (lit. throbbing hairs) by the spectators whose curiosity has been evoked!.

costly shawls, other wearing apparels or ornaments to give them way to the talented actors. Cf. also NL, 2289f. * See note 1 above,

6(C. K. same), + kincic-chlista, ©, kimetcchisto, ए,

2 This prescription simply points out what should actually happen. 7 (6, K, same). 1 See above 2 note 2,

8 (6, K. same). ' vidisakoccheka, 1९, vidusakoccheda, C.

9 Wor example, the art of comic make-up,

9 (^, K. same). > dharmapada’, 0, garvapada’, K, ,10 (C. ‰ same), 11 (C. K, same),

12 (© द, same). } The trans, is tentative,

-XXVII 19] SUCCESS IN DRAMATIC PRODUCTION 513

13-14. If the play is a brilliant one with [a plot containing] cutting and piercing [of limbs], fight, portentuous calamity, terrific happening or minor personal combat, it should be received by the clever spectators with tears and rising up [from the seat, and with shaking the shoulder and head}.

15. This is the manner in which the human Success? gets expressed. Now listen about the divine Success which I am going to describe,

The divine Success

16. The Success [10 dramatic production] which includes an excessive [display] of the Temperament, and expresses the States {clearly]? is to be'taken by the spectators as divine (daivi),

17. When there is no noise, no disturbance, no unusual occurrence [during the production of a play] and the auditorium is full [of spectators], the Success is called divine?.

Three kinds of Blemishes

18. These are the varieties of the Success to be known by the spectators as human and divine. J shall speak hereafter of the Blemishes (ghata) coming from gods (१९४५).

19. Blemishes [in the production of a play] are of three kinds ; {that coming] from gods!, from the actors themselves

13-14 (C. K. same).

15 (€, K. same). ' This “human” Snecess seems to relate to the common “human” beings or average spectators, and they should be com- pared with men occupying the gallery ofa modern theatre. They are generally moved by outward and not deep aspects of a dramatic per- formance. Sce below 16 note.

16 (C.K. same). ! These are the deoper aspects of a dramatic performance.

17 (C.K. same), 1 The “divine” Success scems to relate to cultured spectators who generally take interest in deeper and more subtle aspects ofadramatic performance and as such are above ordinary human beings and may be ealled “divine”. 1

18 (C. K. same).

19 (©, K. same). ‘ “Gods” here means the “source of various accidents» See 20 below.

65

514 THE NATYASASTRA [ XXVIII. 20-

(Gtman)*, and from an enemy (para)®. Sometimes a fourth variety of it is what comes up due a portentuous calamity.

Blemishes from gods

20. Blemishes from gods are: [strong] wind, fire, rains, -

fear from an elephant or a serpent, stroke of lightning, appearance of ants, insects, ferocious and other animals.

Blemishes from an enemy 21. Blemishes created by an enemy? are: all round screaming, buzzing (visphotita), noisy clapping, throwing of cowdung, clods of earth, grass and stones [in the place of performance].

22. Blemishes created by an enemy? are considered by the wise to be due to jealousy, hostility [to the party injured], or being partial [to the party’s enemy}, or receiving bribe from the latter (arthabheda)s.

23. Blemishes resulting from portents (atpatilu) are those due to earthquake, storm, the falling of meteors and the like?,

Self-made Blemishes I shall now describe Blemishes arising from the actors themselves (atma-samuttha).

24-25. Un-naturalness [in the acting), wrong movement [of the actors], unsuitability of a role [to an actor] (vibhamilatya)?, loss ~ ग Their acts of ommission or commission are these Blemishes.

See below 24-25. 5 See below 21-22.

20 (C. ए. same).

21 (C.K, same). 1 The rival groups of actors who contested for rewards from their patrons, became cnemics to one another ; see below 72ff.

१ This kind of improper and dishonest acts sometimes occurs also now-a-days in mectings supporting candidates from rival political partics. Human psychology has not much changed sinee the NX, was compiled more than sixteen hundred years ago.

22 (C.K. same). See above 20 note 2. .

गु seems that the léaders of actors did not seruple even to bribe individual spectators to gain their ends,

23 (C.K. same). 41t is possible that due to superstitious fear arising from an appearance of these natural phenomena confusion occurred during the performance,

24-25 (0.24,25b-26, K.24-25), ' Ag.(p, 509) explain this as anyg- bhtimrkocita-svatva-8ri-ca (?) svikira,

-XXVII. 28] SUCCESS IN DRAMATIC PRODUCTION 615

of memory [of the actors], speaking other words? (anyavacana te, those not in the play), [actor's] cry of distress*, want of proper hand movements (vihastatva), falling off of the crown and other ornaments, defects in playing the drums (puskaradosa), shyness of speech (vaybhiti), laughing too much and crying too much will be taken as Blemishes to the Success*.

26. Attack of insects and ants! wholly spoils the Success, while the falling off of the crown and other ornaments will spoil the tumultous applause [in appreciation of the production],

27. Blemishes in the shape of an appearance of animals? should be disregarded. But shy speech [of the actors] and the wrong playing of the drums will [however] wholly spoil the 8१९९९३8१.

Blemishes without remedy

28. The two [kinds of] Blemishes which cannot be remedied in the production of a play (lit. poem), are faults due to a natural calamity, and the running out of water from the Nadika?.

* Ag, (Le.) explains this as ¢tisnim hitam anyena palhaniyam anyah pathatit? anyavacanam.,

9 Ag. (. ९) explains this as Grlatvam hi chadmana pradarsanad astddhth,

५ C, reads one fragmentary hemistich before 25.

26 (C.26b-27a; K.26b-28a). ' Ag. (p. 509) probably read in his toxt pepiltka-niksepa,

27 (C.27b-28b; Ke28b). + Ag. (p. 509) reads it as pase-praveso and comments on it as follows: मुकुमारपरहते; Guranae तासनोतृपादनेन fafefaarara Stufasra ara पद्वैशोऽग्सलिङ्गक्नता(१) षति भाशङ्तम्‌, पथोः सिहादैरेषं sar सुकुमारं gaat भौषयति सामाजिकं षा एवै सातृस्ादृत्तमलिङ्कमपि कवित्‌ करोति इासानयनेन प्रहञतप्रयोगविप्रसंवादनायैति,

2 ©, reads one additional hemistich between 27a and 27b. K. omits 27b,

28 (0.29; K.82). ' Ag. (p. 508) says on this उदकना्िकया काल इव लच्यते तखगेषलवम्‌ wrnatenfeitra तन यव का यदनुचितं ay तच्चिषषनम्‌" ete. Madeka (text एषठ) is a meagure of time. See NS. XX. 66 note 1. The ancient Indian device for measuring time consisted of a water vessel of particular size with a well-defined tube (740) at its bottom. ‘Time required for the complete running out of water from it, was known as a nadeki (naji), सुवरनाधकाशलारशतुरहूलायामाः। तावत्‌ NATURAL ए जलाढकस्य TAA Me सुतिः स कलो वा नालिका । (See AS. IL. 20 ; also AS. notes, p.-27). Here तदं is used in the sense of the water-vessel used for measuring time. On the neecssity of time-keeping see below 39 and NS. XX.23, 69.68.488 cxplanation does not seem to be clear. ॥

516 THE NATYASASTRA [ XXVIL 99.

Palpable sources of Blemishes

29-30. *Palpable (lit. large) sources of Blemish in a play are: repetition, defective use of compound words (asamasu), wrong use of case-endings (ribhaklibheda), want of proper euphonic combination (visandhi), use of incoherent words (apartha), faulty use of three genders, confusion between direct and indirect happen- ings (pratyaksa-paroksa-sammoha), lapse in metre, interchange of long and short vowels, and observing wrong caesura?.

31, Absence of [proper] notes (visvara), of sweetness of notes (viyulta-raya), and of wealth of notes, and ignorance of voice registers (sthan«) and of tempo (Jaya) will disturb musical rules [in the production of a play]?.

32. Non-observance of Sama, Marga and Marjana, giving hard strokes, and ignorance about the beginning (lit. taking)? and the stopping (molsa, lit. release) will spoil the beauty (प्न्य) of the music of drums‘,

33-36. Omission due to loss of memory, and defective enunciation in the declamation, putting on ornaments ip wrong places, falling off of the crown, not putting on any ornament?, want of hand-movements owing to an ignorance about mounting or

29-30 (C.30-31, K.30-31). 1 Actors and actresses at the time of the NS. usually being speakers of Middle Indo-Aryan (Prakrit) and not trained scholars, there occured all sorts of lapses in their Sanskritic recitation and declamation. Hence is to be justified the humorous reference to the ala (actor) in the following traditional couplet: इेवाकरपक्तिरातादपद्व्दवगाः क याति

~ ea! ज्यीतिनेटविटगायकमिषगाननगषरापि यदि न खु; (Haldar, Itihasa, 7, 143). which

in trans. is as follows: Where would the vulgarly-used words have gone for fear of hunter-like grammarians, if there were no mouth caves of astrologers, actors, gallants, singers and physicians ?

31 (C.32; K.27). 1 For the technical terms of music used here see NS, XXVIII

32 (C.33; K.29). 1 bahulaprakara, K. (kulaprakaram ca, ©),

* graha, K, (gr ha, C.).

> Read rasam for marisam, 0, and marsam, K.

* puskaragata, K. (fuspagaia, ©). For technical terms of music used here see NS. XXXII.

33-33 (C.34-37; K,33-36), ४ Read bhitsanagraham for bhusana’.

-XXVII. 41] SUCCESS IN DRAMATIC PRODUCTION 51?

dismounting chariots, clephants, horses, asses, camels, palanquins, aerial cars (vim@nuc) and vehicles [in general], wrongly holding or using weapons and armours, entering the stage without the crown, headgear or clothing, or entering too late? are the Blemishes which should be marked in proper places by the clever experts, but they should leave out of consideration the sacrificial post (क्ण), taking up of the fire-wood (cayane), Kusa grass (darbha), ladle (éruc) and other vessels (bhanda) [relating to ४ sacrifice]. Three grades of Blemishes

37, An expert in dramatic production should record Blemishes as “mixed” (migra), “total” (sarvayata) and “partial” (rkadegaja), but should not record [merely] the Success or the Blemishes (without any detailed information about these].

28. The total Success or an all round Blemish expresses itself in many ways. But a matter affecting merely one aspect [of the production] should not be reckoned for lowering the order.

39. After the putting down of the Jarjara [by the Director] in a dramatic production, the Assessors (pragnika)? should always achicve in due manner the accuracy of timing (nagihasiddhi)? and of recording (Jel:hyusiddhi) [of all Blemishes as well as goods points].

Wrong Benediction

40. When during a god’s festival anyone foolishly recites a Benedictory Sloka in honour of the wrong god it is to be recorded as his Blemish in the Preliminarics?.

Interpolation is a Blemish

41. When anyone interpolates the composition of une

2 c¢rapraveso, K. (cirprayoga, C.). 37 (0.88; K.37), 7 Read sddher for stddhazr, ©. and siddhyi, K. ५ Read na ghitta’ ca for na ghatasya, C. vidhano via, K, °K. reads 87b differently. 38 (C.89). | Read ekadeSajato (ekadesajatam, ©). K. gives 38a in a mutilated form. 39 (C.40; K.39). + See below 62-69 notes. =» See above 28 note.

40 (6.41; K.40). `" Read 40a, as योऽश्ख महे मूढो नन्दौज्ोकं पठेद्धि भन्यख । dra पूवर घातशखापि fer; खात्‌, 41 (6.49). ।

518 THE NATYASASTRA (XXVIIL 49.

playwright into that of another it is also to be recorded by the experts as his Blemish}.

42, When anyone knowingly (lit. not out of ignorance) interpolates (lit. mixes) in [his] play the name of another author then his Blemish in it being definite, should be recorded in due order?.

43, When anyone produces a play using costumes and languages in violation of the rules [regarding the same laid down in the Sastra] then his Blemish about the same should be recorded?.

Limitation of human efforts in a play

44. Who is able to observe properly the rules of [construc ting] plays or producing [them on the stage]? Or who can be bold or keen (lit. eager) enough in mind to [claim to] understand pro- perly all that have been said? ?

45. Hence one should include in plays words which have deep significance, are appoved of by the Vedas as well as the people, and are acceptable to all persons?.

46, And no play (lit. nothing) can be devoid of any merit

1 This seems to show clearly that theatrical Directors did not hesitate sometimes to insert passages taken from one playwright’s work into that of another to add to the effect of the latter. K. omits this passage.

42 (C43), | From this it appears that the practice of putting in the name of the author of a play in the Prologue (pvastavana) was not avery old one. This seems to explain the absence of the authors name in dramatic the works aseribed to Bhiisa. K. does not have this passage.

43 (C.44; K.41). 1 From a close study of avalable plays it does not appear that the rules laid down in the Sastra were very serupulously followed, or it is also likely that the rules regarding the use of different languages in a play, changed with the linguistic development as well as other conditions connected with the use of languages.

44 (C.45; K.47). 1 This seems to point out that no Sastra can exhaus- tively lay down all the rules which can never be made very clear and precise, for many things in theatre relate to so many fluctuating factors.

45 (C.46; K.43). * One should mark the stress put on the Vedas and the popular practice in connexion with the Natya. 866 NS. XXVI. 118-120.

“46 (0.47; 1.44). .

-XXVIL 54] SUCCESS IN DRAMATIO PRODUCTION 519

or totally free from faults. Hence faults in the production of a a play should not be made much of?.

47, But the actor (naa) should not [for that reason} be careless about Words, Gestures and Costumes! of minor import- ance (lit. non-essential) as well as about [minor] Sentiments and States”, dance, vocal and instrumental music and popular usages® of the same kind [relating to the performance].

Spectators of a performance

48. These are [the rules] defining the characteristics of the Success. I shall hereafter describe that of {an ideal] spectator? (preksaka),

49-52. Those who are possessed of [good] character, high birth, quiet behaviour and learning, are desirous of fame and virtue, impartial, advanced in age, proficient in drama in all its six limbs, alert, honest, nnaffected by passion expert in playing the four kinds of musical instruments, acquainted with the Costumes and Make-up, the rules of dialects, the four kinds of Histrionic Representation, grammar, prosody, and various [other] Sastras, are very virtuous, experts in different arts and crafts, and have fine sense of the Sentiments and the States, should be made spectators* in witnessing a drama?. ज

53. Anyone who has (lit. is characterised by) unruffled senses, is honest, expert in the discussion of pros and cons, detector of faults and appreciator [of merits], is considered fit to be a spectator in a drama.

54. He who attains gladness on seeing a person glad, and sorrow on seeing him sorry and feels miserable on seeing him miserable is considered fit to be a spectator in a drama}.

1 This is a very wise counsel for the hasty crities of a play.

47 (0.48; K.45). 1 wepathye, K. ( nepathyar h, ©).

2 rasabhananritagite, 1९, Cnrtyagitath, K),

3 Jokayukte, K. Cyuktyit, ©).

48 (C 49; K.46). | preskakaniwn (preksananim, C.prasnikanium, K), 49-52 (C.50-53; K.47-50). | preksaka, ©; pranika, K.

53 (0.54; K.51). ‘ :

54 (0.55; K.52), ' The critic must be a man with sympathy.

520 THE NATYASASTRA [ XXVII. 55-

55-56. All these various qualities are not known to exist in one single spectator. And because objects of knowledge. are so numerous and the span of life is so brief, the inferior common (lit. men) in an assembly which consists of the superior, the middl- ing and the inferior members cannot be expected to appeciate the performance of the superior ones.

57. Hence an individual to whom a_ particular dress, profession, speech and an act belong as his own, should be consi- dered fit to appreciate the same.

Various classes of spectators

58. Different are the dispositions of women and men, young and old who may be of superior, middling or inferior talents, and on such dispositions [the Success of] a drama rests,

Disposition of different spectators

59. Young people are pleased to see [the presentation of] love, the learned a reference to some [religious or philosophical] doctrine}, the seekers of moncy [topics of] wealth, and the passion- less in topics of liberation (आणक).

60-61. Heroic persons are always pleased in the Odious and the Terrible Sentiments, the personal combats and battles, and the old people in Puranic legends, and tales of virtue. And [the common] women, children and thé uncultured men (mirkha) are always delighted with the Comic Sentiment and [remarkable] Costumes and Make-up (nepathya)?.

61-62. Thus the man who is fit to assume a particular role by imitating the States of the latter, can be considered a spectator possessing the [necessary] qualifications, Assessors in a performance 62-64. These “should be known as spectators in connexion with a drama. But there being any controversy (samgharsa)

55-56 (C.56-57; K.53-54). 1 K. reads 55b as follows fadaem@aarz अलपवाद्‌ भायुषणथा.

57 (C.58; K.55), 58 (C.59a, 600; 1.६6), 59 (C.59b-60a; K.87). | samayagrite, ©, (samayanvite, K.), 60-61 (C.61; K.58). 1 Ky omits 6la 61-62 (C.62; K.59).

62-64 (C.63-64; K.60-61). ` This is a very claborate arrangement ` for judging in every detail the Success of a performance.

-XXVII, 70] SUCCESS IN DRAMATIC PRODUCTION 521

about the performance of individual actors, the following are the Assessors (pragnika) : an expert in sacrifice (yajnavit), an actor (nartaka), a prosodist (chandovit), a grammarian (éabdavit), a king (rajan), an expert in archery (isvastravit), painter (citravit), courtezan (vesy@), musician (gandhurva) and a king’s officer (rajasevaka), Hear about them.

64-68. An expert in sacrifice will bean Assessor in the (representation of] sacrifice (yajmayoga), an actor in general His- trionic Representation, a prosodist in complicated metres, a grammarian in a lengthy declamation, a king in connexion with [personal] dignity, in dealings with the harem and in royal (lit. his own) roles, the archer (isvasa)+ in the Sausthava of the pose ; and a painter is a very suitable Assessor of movements for saluta- tion and other acts, of wearing clothes and ornaments, and of Dresses and Make-up which are at the root of dramatic produc- tion ; the courtezan will be an Assessor in matters relating to the enjoyment of love, and a musician in the application of notes (svara) and observance Time (tala), and an officer of the king in [the matter of] showing courtesies. These are the ten Assessors of a dramatic performance.

69. When there is a controversy among the persons ignorant of the [तष atya}-Sastra they (i. €, the persons named above) are to pronounce justly the faults as well as the merits [of individual actors]!. Then they will be known as Assessors of whom I have spoken to you.

70, When there occurs any learned controversy about the

knowledge of the Sastra the decision should be made on the testimony of the books (lit. Sastra).

64-68 (C.65-68). 1 Emend 2109६ (©). into 20950,

69 (6.69), ¬ The significance of this rule seems to be that when in judging a drama the common people (i.e, who are not acquainted with the rules laid down in the Sastra) fail to decide, the specialist Assessors mentioned above are to be called in. This passage is wanting in K,

70 (C.70). 4 This rule seems to show that when the specialists in theatrical practice differed, they were to. refer to the Sastra or the traditionally handed down पार compiled in books, K, omits this Passage. ।

66

69 THE NATYAGASTRA (द्रा

Controversy about a performance

71. Controversy arises when the actors (bharata) have the desire of mutual contest at? the instance of their masters or for. [winning] money and the Banner (pata/a) [as rewards],

Procedure in deciding controversies

72, In course of deciding a controversy one should observe [the performance of the parties] without any partiality, The decision about [the award of] the Banner! should be according to the stipulation made (panam ky!va)? [beforehand].

Recording of Blemishes

73+ Blemishes affecting the Success should be recorded with the help of reckoners (पततत) by these persons (i.e, Assessors) who are seated at ease, have clean intention, and whose intelligence is [geaerally] relied on [by the public}.

Ideal position of Assessors in a performance

74. 48868805 should neither be too near [the stage] nor too far [from it]. Their seats should be twelve cubits (six yards) apart from it.

75. They are to notice the points of the Success mentioned before, as well as the Blemishes which may occur during the pro- duction of a drama.

Blemishes to be ignored 76. Blemishes which may be accidental (lit. caused by the

71 (C.71), 1 An example of this is the contest between the two natyadciryas in the Malayi.

* The Indian literary tradition records the fact of Bhisa’s winning Banners, possibly on the occasion of dramatic contests, Seo Harsacarita, Introduction, 15.

72(C.72), ` Read palakisamoyqvaharam (savyavahiiram, C.).

+ This stipulation may have the following forms: the Success in producing any particular play, or any new play, or a new play with a particular do uinating Sentiment will ‘entitle one group of actors or its leader to the award of the Banner. K. omits this passage.

73 (6.73; K.62a), 1 ए, omits 73a. :

74 (C.74; K.62b-68a). * Emend preksakaih into prabnikath.

75 (C.76-77a; K.63b-64a). 1 phadas ca, K. for wih kB ca, ©,

" 76 (C.77b-78a; K.64b-65a),

XXVIL 61] SUCCESS IN DRAMATIC PRODUCTION ४28

gods), the portents or the enemy are not to be recorded by the wise [observers]. But the Blemishes relating to the play* as well as the Blemishes arising from [the actors] themselyes® should be recorded. Procedure of awarding the Banner

77. After mentioning him to the king the Bannar should be given to a person whose Blemishes, have been reckoned as few in number but points of the Success as many.

78. If expert actors? are found to be of equal merit (lit. work and quality) in the production of a drama, the Banner should be awarded first to one whose Success? is greater, or in case of equal success® [of the two contestants] [the award should be made] at the king’s command.

79, If the king has similar admiration for the two rivals, then both of them should be awarded [the Banners]. With an eye to all these rules one should provide [in the production of a play] for the recitation, the [distribution of] roles and the Sentiments.

80. Thus cultured persons who are well-acquainted with with the rules [of theatrical production] and capable of appreciating merits! should sit at ease with an unrufficd mind* and see to the proper judgement [in awarding the Banners}.

81. The Assessors are to point out (lit. take) the [measure

1 daivotpitasamuttha, K. (daivolpannasamartha, ©.

2 ghata, K. (yasta, ©). Blemishes relating to a play seems to be its literary drawbacks. It is likely that in dramatic contests choice of defectiare plays brought discredit on the contestants. == ° Sec above 24-25,

77 (C.75; K.65b-66a).

18 (C.78b-79a; K.66b). 1 Read bharatah prayogesu ca.

9 Depending on the vocal applause as well as the silent approbation of spectators, १ sammasiddhau, K., (samasiddha, C.). ‘ vajnaya nrpateh, C.; K. omits 77a and reads 77b with some variation.

79 (C.79b-80a; K.67a). 1 ए, omits 79b.

80 (K.68). 1 Read gunddadbhth for gunadibhih, K.

9 Read svasthacittath for svasvactttath K.

3 Read syavahkarah samahjasah for ayavahirah samanjasam, K.

81 (K.69). \ Emend preksakath into prismikath,

594 THE NATYASASTRA [ XXVIL. 82

of] achievement as well as the slightest of faults? which may relate to the theory of theatrical production’.

82. Hence producers! [of plays] should know [properly] about Co-ordination (sama), Charm of Limbs (angamadhurya), Recitatives (pathya), 10165 (1141141), the Sentiments (vasa), songs (gana), instrumental music (vaya), and the Costumes and Make- up (nepathya)*.

Co-ordination 3. Gestures (argu) which are simultaneously? made in a play in harmony with the different aspects of the arts in course of the Dhruva songs and of dances? is called Co-ordination (sama).

84. When in course of the performance [of a play] Gestures of different limbs major and minor, are accompanied by songs with proper Time (tala) and tempo (laya) and by the playing of drums it is called Co-ordination.

Charm of Limbs

85. The position in which the chest is not bent!, the two arms are Caturasra and spread out (ayaa)? and the neck is Aiicita, gives rise to the Charm of Limbs (anyamadhurya).

86. And as for the remaining subjects? which are to be mastered (sadhya)? by the actors (sadhaka) they have been discussed before. But they are to look after the instrumental music (vadya)*, the rdles (prakrti, lit. the origin) and the songs (gan),

87. The Success arising from the Gestures and the various Sentiments should be expressed out of joy through all the signs (lit. the places) of the same.

2 Read dusanabhasam for dasanabhasah, K.

? Read prayogasamayasritm for prayoga-samayasritaih,

82 (C.80b; K.70). | prayoktrbhth C. (prayatnatah, K.)

9 C, omits 82a). 88 (C.81; K.71), 1 samantat, K. samarthah, ©.)

> dhruvanityaprayoge, ©, (gitavaditratalena, K.) 84 (K.72)

85 (C:82; ए 78). } antrbhugnam, C. (santrbhugnam, K,).

9 *srayatau bhujau, ©, °srakrtaukarau, K.

86 (60.88; K.74). ' These are pathya, rasa and nepathya ; 86 NS. XIX., VI. and XXIII sadhyam. C. (preksyant, K.)

२ Read vadyam prakriayo ganam for vadya-prakitaye’nganam, ©,

and vadyam prakrtayo jiinam,K. | 87 (0.84; 1८.75);

-XXVII.97] SUCCESS IN DRAMATIC PRODUCTION 525

Suitable times for dramatic performance

8६, Producers [of plays] should know the time (alu) for a performance (vara), which depends on various considerations to be [generally] day and night*. Listen now when a performance may take place during these two periods.

89. The performance in the evening, the midnight and the dawn belongs to the night?.

90. The performance in the forenoon and the afternoon belongs to the day.

Time of performance according the subject and the Sentiment

91, 1 shall now speak how these times are suited to [different] Sentiments after mentioning the time (lala) to which a performance belongs.

92. [The performance] which is pleasant to the ear and is based on a tale of virtue (dharma), whether it is pure (suddha) or mixed (vilzta), should be held in the forenoon.

93. That which is rich in instrumental music, includes the story of strength and energy, and carries [a chance of] abundant success should be performed in the afternoon.

94. That which relates to the Graceful Style, the Erotic Sentiment and is full of vocal and instrumental music should be performed in the evening.

95. The drama which relates to the magnanimity [of the Hero], and contains mostly the Pathetic Sentiment should be performed in the morning and it will scare away sleep.

96. Tbe drama should not be performed in the midnight or at noon or at the time of the Sandhya prayer or of taking meals.

§7. Thus after looking into the time, place and the basis (plot) of a play one should bring about its production according to the States and the Sentiments it contains

88 (C.85; K.76) ` Read 880 ४७ दिवव रावि तयो्वारं निबोधत,

89 ((87; 1६.77). + reads 898 98 पूर्वा षच सध्या WHF तथव च and 89 correspondingly. 90 (6.86; 78). 91 (८88; K.79). 92 (C.89; K.80).

93 (C 90; K.21). 94 (0.91; K.82). + gitavadstrabhuyistham ©, artyavaditragitindhyam. K. 95 (C,92; K.83) 96 (C.98; K.84).

97 (6.94; K.85). 1 prasamiksya sasamérayam, ©, but parnadam ca samiksya tu, K. parnadam in K, may be a wrong reading for parsadam (assembly).

526 THE NATYASASTRA [ XXVII. 98

Emergency performances are independent of time

98. But when the patron (lit. master) orders, the time and place are not to be taken into consideration and the performance should be held without any hesitation.

99, Proper Co-ordination (lit. co-ordinated production) Brilliance [of Pageant] (samyddhi), and actors capable of [good] production are the three (points of] merits [in a performance]?

Qualities of an actor

100-101. Intelligence, strength, physical beauty?, knowledge of Time (tala) and tempo (/aya), appreciation of the States and the Sentiments, [proper] age. curiosity, acquisition [of knowledge and arts], [their] retention, vocal music, dances, suppression of stage-fright, and enthusiasm will be the requisite qualities of an actor (patra),

An ideal performance

102. That which includes good instrumental music, good songs, good recitatives as well as Co-ordination of all acts prescribed by the Sastra, is called an [ideal] production.

Brilliance of Pageant

108. Use of proper ornaments, good garlands, clothes and proper painting or the Make-up [for the characters] gives rise to Brilliance of Pageant वाण).

The best performance

104, According to the producers of plays the best (lit. the ornament) [of the performance] occurs when all these factors combine.

105. Thus I have spoken to you properly of the charac teristics of the Success. Now I shall speak to you about the different branches of music (@tudya, lit. instrumental music)!.

Here ends Chapter XXVII of Bharata’s Natyagastra, which treats of the Success in Dramatic Production.

98 (C.95; K.86). 99 (6.96; K.87). ' See below 103. 100-101 (C.97-98; K.88-89). ' surtipatvam, K. (svartipatvam ca, (), 102 (C.99; K.90). 103 (C.100; K.91). 104 (C.101; .K92). $ 105 (0.102; K.93). ' The Chapters XXVII-XXXIII which treat of the theory and practice of the different branches of music, will be published in the second part of the present work,

CHAPTER THIRTYFOUR TYPES OF CHARACTERS

Three types of character in a drama 1. Whether male or female, characters (prakrti) in general fin a play] are of three types : the superior, the middling and the inferior?. A superior male character 2-3, A man who has controlled his senses, is wise, skilled in various arts and crafts, honest, expert in enjoyment*, brings consolation to the poor, is versed in different Sastras, grave, liberal, patient and munificient, is to be known asa “superior” (wttamm) character?. A middling male character 3-4. A man who is an export in dealing with people, well- versed in books on arts and crafts as well asin Sastras, has wisdom and sweetness [of manners] is to be known as a “middling, (madhyama) character?. An inferior male character 5-7. A man who is harsh in words, illemannered, low- spirited, of small intelligence, irascible, violent, can kill his friend, can kill anyone eruelly, is treacherous, haughty in words, ungrate- ful, indolent, expert in insulting the honoured persons, covetous for women, fond of quarrel, doer of evil deeds and stealer of others’ property, is to be known as an “inferior” (adhama) character. Similarly female characters too are of three kinds!. A superior female character

8-10. I shall now speak in due order of female characters. A woman who has a tender nature, is not fickle or cruel,

1 (C,1b-2a; K.XXIV.1). ' C. reads before this one additional couplet. 2-3 (C.2b-4a). ' Emend bhagaleksa into bhogadaksis.

2 Cf. K. XXIV. 86b-88a).

3-4 (C,4b-ba). 1 CE K.XXIV. 88b-89.

5-7 (C.56-7a). | Cf, K.XXTV. 89b-92a.

8-10 (6.80-119), ¬ Read smitabhasinyar

528 THE NATYASASTRA [ XXXIV, 11.

speaks smilingly, is obedient to her superiors (guru)*, bashful, good-mannered, has physical charm as well as high birth, and other natural qualities, and is grave and patient, is to be known as 8 “superior” (uttama) character’. A middling female character 11. A woman who does not possess these qualities to a great extent and always, and has some slight faults mixed with them, is to be known as a “middling” (mardhyama) character. An inferior female character 12. Description of the inferior male characters will generally apply in case of female characters of that type. A mixed character

13. A hermaphrodite is to be known asa character of the “mixed” (samiirna) and inferior type. Maid-servants and the like are also characters of the mixed type.

14. The Jester, the Sakara? and all others like them in a play, are characters of the mixed type?.

So much about the characters which may be male, female and hermaphrodite, The four types of the Heroe 15-16, TI shall now describe their classes? according to their conduct, Among these [characters], Heroes (nayaka) are known to be of four classes, and they belong to the superior and the middling? types and have various characteristics.

17. The Hero is described as being of four kinds : the self- controlled and yehement (dhiroddhata), the selfcontrolled and light-hearted (dhira-lalita), the self-controlled and exalted (dhiro. datta) and the self-controlled and calm (dhira-praginta),

५ Read gurunam vacane, 3 Cf, K.XXIV. 109-1102. 11 (11b-12a), 12 (12b-13a), 18 (18b-14a; K.XXIV.10b, 10a), 14 (140५; K.XXIV.11). 1 Kd, Sakiras ca‘va cela’ ca. ” Read samkirna prakrtir for samkima natake. 15-16 (C.15-16; K.XXIV.12ab. 2). | vibhagam, K, (uidhanam, ©). * madhyottamayim, C. (tatrottamayam, K.) “17 (C7; XXIV),

XXXIV. 24 J TYPES OF CHARACTERS 529

18-20. Gods are self-controlled and vehement (dhiroddhata), kings are self-controlled and light-hearted (dhiralalita)', the coun- cillors are the self-controlled and exalted (hirodatta), and Brahmins and merchants are the self-controlled and calm (dhiraprasanta) classes of Heroes, To these again belong the four classes of Jesters.

The four types of Heroines

20-21. These are always the Heroes in dramatic works (lit. poetical composition). I shall now speak of the Heroines who are of four classes: a goddess, a queen, a woman of high family and a courtezan ,

21-22. These may, according to their characteristics, be of four types: self-controlled, (haa), light-hearted (alia), exalted 11212) and modest (nibheta)'.

22233. Goddesses may possess all these qualities, and women of high family may be exalted and modest, while the cour- tezans and the crafts-women light-hearted and exalted.

Two classes of employment for characters

24, The characters (in a play] are of two kinds : external (bahya) and internal (a@bhyantura)!. I shall now describe their characteristics?.

18-20 (6.18; K.XXIV.4). + syur dhirlalita nrpih KK. (lalitas tu nipah smrtah, C.).

20-21 (C.19; K.XXIV.5). + C. reads after this, three and a half addi- tional (corrupt) couplets (C.20-28a) which may be tentatively translated as follows: They (Jesters) are serially [of two types]: lowborn and cultured, They are to be attached to gods, kings, ministers, and Brahmins. And in his separation [from the beloved] a friendly maidservant clever in conversa- tion, who feels distressed at his misfortune should be attached to the king, Among many (lit. in the multiplicity of) male characters in a play, the chief one is called the Hero. When in a play (lit. there) more [male characters] than one meet the misfortune and get back the prosperity, then one whose conditions appear remarkable should be taken as the Hero,

91-22 (C.23b-24a; K.X XIV.6-8a). + ©, omits 20b-21 and reads 20a as follows एते तु नायका fat नामाप्र्ञतिलचणाः. We with K.

22-23 (C.24b-25; KsXXIV.8b-9), 1K. reads 22b as follows fear- राजनाहना Wat Teer भवनि हि,

24 (0.26; K.XXIV.12b), ठ Read prakaro duividhal smrlah

2 K. omits 24b,

67_

690 “THE NATYASASTRA { XXXIV, 96.

25. [The character] which has dealings with of the king [only], is called internal and one who deals with the people outsida [the king’s palace] is called an external character.

Female inmates of the harem

26-29, shall now describe the classes and function of women who live in the harem and have dealings with the king. They are the chief queen (maha-devi), other queens (dev), his high-born wives (sv@mini), ordinary wives (sthayini)?, concubines (bhoyini), craftsewomen Bilpakarini), actresses (nafukiya)? dancers (nartak.), maids in constant attendance (enucarita), maids of special work (paricGrk@), maids in constant movement (samcarika), maids for running errands (presant-carika), Mahattaris (matron), old dames (sthavira) Ayuktikas and (overseer), Pratiharis (usher), maidens (1102).

The chief queen

30-32. The chief queen (mahalem) is one who has been consecrated on her head, is of high birth and character, possessed of accomplishments, advanced in age, indifferent to her rivals, free from anger and malice, and who fully understands the king’s charac ter, has sympathy in his joy and sorrow, is always engaged in propitiatory rites for the good of the [royal] husband, calm, affectionate, patient, and benevolent to the inmates of the harem™.

Other queens

33-34. ‘Those [wives of the king] who have all these quali- ties except that they are denied proper consecration?, and who in spite of being proud of yood fortune, are eager for enjoying affection?, are always brilliantly dressed, jealous of their rivals and splendid on account of their [young] age, physical charm and [many other] qualities, are called queens (devi)§,

25 (C.27; K.XXIV.13). 26-29 (C.28-81; K.XXIV.14-17). + sthayini C, (sthapila, C). Cf. BhP. p. 289, ]. 14-18. ?This shows that kings in aucient times had a large num- ber of wives, According to the Ceylon tradition Bindusara had sixteen wives (see Barua, Inscriptions of Ascka, p.276). In Svapna. (V1.9) Udayana refers to the sixteen wives of his father-in-law Mahasena. * Cf. Pali. natakstthi. 30-32 (C32-34; K.XX1V.18-20), 2 Cf. BhP. p. 290. 1. 15-18 , 83°34 (C.35-36; K.XXIV.21-22) 1 satsamskirats tu C(bahumina,K,) 2 K, reads 330 as गदिता र्ञपु्रौ च रतिरक्रीगृतवरा, = * C£ BhP. p. 290, 1. 19-21,

XXXIV. 48 ] TYPES OF CHARACTERS 691

High-born wives 35-36. Daughters of generals or of ministers or of any other officers when they (7, ९. their daughters) are elevated by the king through the bestowal of affection and honour, and become his favourite due to good manners and physical charm, and attain im- portance through their own merits, are known as the highborn wives (sva@mini)?. Ordinary wives 37-39. Ordinary wives (séhayini) of the king are the women who have physical charm and young age, is violent [in sexual acts], full of amorous gestures and movements, expert in the enjoyment of love, jealous of rivals, honest, and who know the mind of the husband, are expert in writing and painting, follow the wishes of the king always, and are free from anger, sleep, ‘indolence and cruelty, [always] alert and ready [to act] and capable of showing honour to persons according to their status’. Concubines 40. Concubines (bhogini) to a king are known as well- hehaved, gentle [in manners], not very haughty, and they are indifferent [to rivals], modest, affectionate but not held in high honour?. Women artistes 41-42, Those women who are coversant with various arts, skilled in various crafts, know the different branches of the art of perfume-making, and are skilled in different modes of painting, know all about the comforts of beds and seats, and are swect in manners, clever, honest, pleasant-looking, distinct [in their words], honest and modest, are known as women-artistes (éilpakarika)', Actresses 43-44, Women who have knowledge of notes (svav'a), time- « beat (taJa) and caesura (1410) [in a song], are associated with a master of the art (22/40), clever, skilled in acting (बद्व), capable

85-36 (C.87-38; K.XXIV.25-24). ` K. reads 36b as aifmernrcerrat खाभिनौति हि संचिता. 21, has nothing analogous. See p. 290.

87-39 (60.39; K XXIV.25-27). + ©, omits 38-39. BhP. has nothing analogous, See p. 290. 40 (K.28). * ©, omits this. .

41-49 (C.40b-4la, K.XXIV.29-80), C. omits 41. 48-44 (C.4)be42),

533 HE NATYASASTRA (XXXIV, 44.

of speaking according to the occasion, have young age, and beauty of form, are known to be actresses (natahiya)?. Dancers

44-48, Women who are expert in the representation of Passion (lela) and Feeling (bhava), know [well] the representation of the Temperament (sattva), have sweetness [of manners], are skilled in playing musical instruments, have beautiful limbs, are conversant with the sixtyfour arts and crafts, are clever and always bold, free from indolence, inured to hard work, capable of practising various arts, and skilled in dancing and singing, and due to their young age superior to all other women standing near by, in the beauty of form and in the brilliance of appearance, are known as dancers (nartaki)?,

Maids in constant attendance

48-49. Women who do not under any condition leave the

king, are maids in constant attendance (auucarika)?. Maids of special work

49-51. Those women who are clever, skillful, regular, and who know the art of making bed, serving wine and victuals, sham- pooing, preparing and applying perfumes, decorating one with ornaments and garlands, are to be known as maids of special work (paricarila)?.

Maids in constant move 51-53, Those women who [always] roam about in different

parts (of the palace], gardens, temples, pleasure pavilions, and strike

+ K's slightly different reading in trans. will be as follows : A woman who knows to begin [a song] and to stop it, and the proper tempo to be followed in it, can represent the Sentiments and the States, understand other people’s intention and hints, is obedient to the teacher, clever, expert in acting, skilled in discussion, conversant with the playing of drums and other musical instruments, is called an actress,

~ 44-48 (C.44-45; 47;-K.38b, 88a, 84). ~ ६, reads between 47a and 47b an additional couplet. :

48-49 (C.48a; K.XX1V.35). 7 0, omits 40a.

49-51 ((.48b-50a). +K’s reading which is slightly different will in trans, be as follows: A woman who is in chargo of the king's um- brella, bed and seat, and looks after the cooked food, shampooing, toilet, wearing of ornaments and garlands is his maid of spceial work (कन्व). Of. AS, IL 27, 41. 51-53 (C.50b-52a; K.XXIV-40-41),

XXXIV, 58] TYPES OF OHARAOTERS 583

the [bell indicating] the Yama! and are prohibted intercourse by the playwrights, are to be known as maids in constant move (sancarika). Errand girls 53-54. Women who are employed by kings in secret commissions connected with his love-affairs and are often to be sent [in some such work] are to be known as errand girls (presanacariha)*, Mahattaris 54-55. Women who for the immunity of the entire harem [from evils] and for [the king’s] prosperity takes pleasure in [singing] hymns [to gods] and in performing auspicious ceremony, are known as Mahattaris (matrons). Pratiharis 55-56. Women who lay before the king any business re- lated to various affairs [of the state] such us treaty (तकी, war (vigraha) and the like, are called Pratiharis (usher). Maidens 56-57. Girls who have no [experience of] love’s union (ratisamyoga) and are quiet, devoid of rashness, modest and bash- ful are said to be maidens (kumar). Old dames 57-58. Women who know the manners of the departed kings and have been honoured by them’ and who know of the character of all (members of the harem]? are said to be old dames (vpd dha). , Ayuktikas 58-60. Women who are in charge of the stores, the weapons, the fruits, roots and grains, who examine the [cooked | food for [the king] and are in charge of (lit. thinkers of) the scent, ornaments

+ yama=a period of three ‘hours,

58-64 (C.52be; K.XXIV.42).

+ Read the passage as follows: 884: aradgudar qwagfea: | state Hadar sar: प्रेषणचारिकाः. 54-55 (0.58; K.XX1V.43),

55-56 (K.XXI1V.44). 56-57 (K.XXIV.43),

57-38 (C, 54; K.XXIV. 46), 1 prrpariifhivad pusitah, C sarvarajasu

pujitah, K,). १ sarviinucaritajna’, C. (purvariijopacirajna, ए)

58-60 (C.58-57a; K.XXIV.36-87). -

584 THE NATYASASTRA ( XXXIV. 61.

and garlands and clothes [he is to 08९], and who have under them

many persons and are clever, are said to be Ayuktikas or Yuktikas

(overseer), These are in general the women of the [royal] harem. Qualities of women to be employed by the king

61-64. The qualities of those women who are to be employed [by the king] should be as follows: they should not be rash, restless, covetous and very cruel in mind ; they are to be quiet, forgiving, satisfied ; they must have conquered anger and controlled senses, they should have no passion ; they are to be respectable, free from all female diseases, attached? and devoted? [to the king] and free from womanly pride’.

Others inmates of the harem

64-69. The hermaphrodites who constitute the third class of characters, should be employed in a royal household for moving about in the harem. But Snatakast, Kaieukins as well as Varsadharas, Aupasthayika-Nirmundas are to be placed in different parts (alsa) of the harem. Persons who are eunuchs or have given up sexual pleasures should always be made the inmates of the harem in a Nataka, The Snataka should be made to observe Aryan manners. In errands relating to the polity the Kaitcukin should be employed, and in errands relating to love-affairs (kamaréra) the Varsadharas are to be engaged. The Aupasthiyika- Nirmundas are to be engaged in sending out women and in any place for the protection of maidens and girls?

10. And maids in constant attendance should be employed by kings in sending gifts! to women [they love}; women well- versed in all kinds of dance and in the use of different limbs (in dance and acting] should be placed in the [royal] theatre?.

61-64 ((C.57b-60; K.XXJV 47-48). ‘Here occurs an expression ninispirs: asamuithitah which cannot be explained.

2 K. omits €4a and reads the rest with a slight variation.

* vaniti-madavarjits, K. (sarva-dosa-vivarjitah, 0.)

64-69 (C 61.689; K.XXIV.50-54). + ग K. (harakah, €).

* C. omits 66-68 and K. 69b.

70 (C.64a; K.XXIV.55). 7 Read damakaryesu for mana’ (texts).

. °K. veads between 70a and 70b the following waryufeand हि

crvaratya tere,

|

XXXIV. 76 ] TYPES OF OHARACTERS 585

The Varsadharas

71. Those women who have poor vitality and the eunuchs who have the nature of women and are voiceless from birth are known as Vargadharas (अनादा),

The Nirmundas

72, Those eunuchs who look like males and have nothing feminine in their nature and have no knowledge of sexual acts are called Nirmundas?.

The Kaficukins

73-74, Those who have learning, truthfulness, are free from the sexual passion, and have deep knowledge and wisdom, are known as the Kaiicukins, [When thy are] Brahmins by birth, clever, old and free from sexual passion, kings are always to employ them to look after the needs of the queens?.

75, These are the eighteen classes of inmates of the [king’s] harem. I shall now speak of persons who move about in public. External persons

76-77, They are: the king (raja), the leader of the army (senaputi), the chaplain (purodhas), the ministers (mantrin)}, councillors (saciva), judges (pra viraka) and the wardens of princes (kumaradhikpta)? and many other members of the king’s court

71 (C.64b-65; K.XXIV.56). + The reading is corrupt.

72 (K.XXIV.57). 1 K. omits this.

73-74 (C.65b-66a; K.XXIV.58). ! Though the later writers have opined that the Kaftenkin should bea Brahmin, the author of the N&. did not recognize any such rule, Bhisa too seems to follow him. In Ditava (I. 5,9) ‘the Kaheukiya falls at the feet of Duryodhana. So we may infer that the Kafic. was not a Brahmin who could not degrade himself by falling at the feet of a Ksatriya. For later def. of the Kaiic. sce Ns. XTII.112-113 notes. 2 0, omits 73 and K,, 74,

75 ((.66b-67a; K.XXIV.59).

76-77 (© 67b-69a; K.XXIV.60-61). `" AS. (I 8 and 9) distingu‘s!ieg between amitya and maninim. Kamandakiya N:tisara (VIII 1) als + siovg the samo; according this later authority amityz seems to be idewiesi with saciza ; see IV. 25, 39, 31. According to Sukraniti saciaa, martrin and amilya are three diff. fanc-ionarics. See II. 94, 95, 103.

१ Read Aumiradhtkrtas tatha for kumarakrtas tatha. K.

536 . TAH NATYASASTRA ` [ XXXIV, 78.

(sabhastara)®, I shall speak of their characteristics, please listen about them. The king

78-82. A king should be [physically] strong, intelligent, truthful, master of the senses, clever, eloquent, high-minded, honest, far-sighted, greatly energetic, grateful, sweet-tongued, skillful ; and he should take a vow of proctecting his subjects and must know how to divide duties [amongst his officers]; and he should be always ready to act, alert, advanced in age and be an adept in the Smrti and the Arthaéastra literature, expert in detecting cnemy’s weakness and the must understand one’s mind from his appearance, he should be magnanimous, well-protected, capable of taking logical view of anything, and a patron of various arts and crafts, and an expert in the Niti literature.

The leader of the army

82-83. One who is trathful and possesses a good character, is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding the weakness of the enemy, and the proper time for marching against him, has a knowledge of the Arthasastra and everything about wealth, is devoted [to the king], honoured in the society and has a knowledge of the time and place, should be made the 'eador of the army (senapati)+.

Councillors

81-85. Those who are intelligent, full of policy, heroic, sweet in speech, well-versed in the Arthasastra, attached to the subjects fof the king] and are followers of laws (dharma) should be appointed Council ors (amatya) by the king’.

$ Read sabhastarah, K. for manya 0/7, C-

78-82 (C.69b-73a). 1 K, XXIV.62-66 svems to read the passage with some significant variation. On this se the Introduction.

82-83 (C.XXIV.67-68). ` The def. of the chaplain (purodhas) and the minister (#santrin) expected here scems to be lost. See above 76-77 note.

84-88 (C.73b-74). ` (K.XXIV.69-70a) reads the passage differently “and in trans, it will be as follows: The couneillors (ami¢ya) and the | sninisters (mantrin) are to be characterised by the [following] qualities : they should besides being follow-countrymen (of the king] and devoted [to him], high-born, intelligent, honest, virtuous and well-versed in the Vedas (8ruti) as well as in polity.

‘

XXXIV. 861 TYPES OF CHARACTERS 537

Judges 85-87, Those who know [well] about commerce and money, are intelligent, conversant with many departments of knowledge, impartial, followers of laws, able to discriminate between good and bad deeds, forbearing, selfcontrolled, overcome anger, and have the same respect for all people, are to be appointed as judges (pradvivaka) by kings. Courtiers 87-90. The members of the court (sabhastara) should be appointed after consulting the views of Brhaspati? who thinks that the following are the qualities required for this office: they should be always ready for work, alert, free from indolence, undaunted by hard work, affectionate, forbearing, modest, impartial, skillful, trained in polity and good manners, deeply con-' versant with the art of agrumentation and all other branches of knowledge, and not affected by sexual passion and the like.

Next I shall tell you about the rules regarding the distribution roles in a drama.

Here ends Chapter XXXTV of Bharata’s Natyasastra, which treats of the Types of Different Characters.

85-87 (C.75-76; K XXIV.70b-72a). 1 The def. of the warden of the princes (Aemaradhiktta) expected here seems to be lost. See above 76-77.

87-90 (C.77-79; K.XXIV.72b-73, 74b, 75a). =" Read 89a, as fad” चापि aaa; सभासारादि कल्मनम (cigadhuryam- K. for capt karmajhath, K. गद thanams K, for °ravikalpanam, ©,

CHAPTER THIRTYFIVE DISTRIBUTION OF ROLES

1. I shall [now] speak of the distribution of roles in a play or of the kinds of men by which different roles are to be represented.

General principles of distribution

2, After considering together from their gait, speech and movements of the limbs as well as their strength and nature!, the experts are to employ? actors to represent different roles [in a play]*.

3. Hence the selection of actors should be preceded by an enquiry into their merits. The Director (lit. the master) will not feel difficulty? in the choice [if such a procedure is followed].

4, After ascertaining their natural aptitudes he is to distribute roles to different actors}.

The role of gods

5-6. Persons who have all the limbs intact, well-formed and thick-set, who are full-grown (vayo’nvita) not fat or lean or tall or lazy, who have vivacity, pleasant voice and good appearance, should be employed to represent the role of gods?.

The role of the Raksasas, the Danavas ete.

7-8. Persons who are fat, and have a large body and

a voice like the peal of thunder (lit. cloud), furious looking

16. ए, same), + gibhigam (vinyasam, K.).

* K, reads lb. with a slight variation.

2 (0.08; K.2). 1 sattvasilath, K. (sattvasila’, C.).

* Emend yustad, K. into yujyid.

3 9b, and the following thirteen couplets have been omitted by 6,

3(K.3). | Literally, ‘this will not bring weariness to the intellect ` of the Director.’ 4(K.4). 7 This passage is slightly corrupt.

5-6 (K.5-6). 1 This seems to be comparable to the Hellenic

conception of gods. 7-8 (K.7-8), ` Cf, Bhatti, II. 30.

-XXXYV. 16] DISTRIBUTION OF ROLES 589

eyes and naturally knit eye-brows should be employed to

represent the role of the Raksasas’, the Danavas and the Daityas,

for the performance of male actors [should be] in conformity with their limbs and movements. ` The role of kings

9-11. Actors (11000) of the best kind, who have beautiful eyes, eyebrows, forchead, nose, lips, cheeks, face, neck and every other limb beautiful, and who are tall, possessed of pleasant appearance and dignified gait, and are neither fat nor lean and are well-behaved, wise and steady by nature, should be employed to reprepresent the role of kings and princes (kumara)}.

The role of army-leaders and councillors

12-18. Persons who have well-formed limbs, distinct speech, are neither tall nor fat?, are heroic, skilled in debate, eloquent, ready-witted and not deficient (in anything] should be employed to represent the role of the leaders of the army (senapati), and the councillors (amatya)?.

The role of the Kajicukin and the Srotriya

14. Persons who have brown eyes, long nose and who are either short or tall [in stature] should be employed to represent the roles of the Kaiicukin (armour-bearer), the Srotriya (master of the Vedas) and the छप,

The role of minor characters +

15. {n other cases too, similar dramatic convention has been prescribed ; roles should be assigned after considering the latter’s age and physical condition?.

16-17. [For example] persons who are slow-moving, very dwarfish, hunch-backed, uncouth, odd-faced and fat, who have

9-11 (K-9-11). 1 Kings, princes and army-leaders ete. which the author had in view scem to have been of Indo-Iranian origin.

12-18 (K.12-13), ` This seems to mean a medium height, Sco above 9.11 0016 1, = » Amétya here seems to include mantrin (mixister}.

14(K.14). 1 Sce above 9-11 note 4.

15 (C.8; 18), 1 Read natyadharmi prasasyate,

* datavasthanurupena K. (desavesinu® C.),

16-17 (C.2b-4a; K.16-17).

4

540 THE NATYASASTRA [XXXV. 16.

expressionless (lit. motionless) eyes’, one eye blind*, small chin and low nose, ugly raiments, evil nature, deformed body and are born of slaves should be employed in the role of slaves (dasa).

The role of fatigued persons

18. A person who is naturally thin, should be employed in

a play (lit. there) to represent the tired characters. The role of persons without disease

A fat person should be employed to represent the persons

without any disease?. Special cases of assigning roles

19. 11 however, such persons are not available the Director (lit. the master) should exercise discretion to employ [some one} after a consideration of the latter’s nature and movement as_ well as the States [to be represented].

20, Such persons’ natural movements whether good, bad or middling should be regulated by a contact with the Directof (lit. the master)! and then they will properly represent [all] the States®.

21. In other cases too similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native place (eS) and costume (vege).

The role of characters with extra or special limbs

22-23, In case of characters which have many arms, many heads, and uncouth faces, and faccs of animals including beasts of prey}, asses”, camels, horses and like, the Director (lit. the

1 Read vislabdhanetram for nistabdhanetram, K. visrstnetaram.’,C.

2 kanaksam, K. (karyanim, C.).

18 (C.4b-Sa; K.18). 1 ¢atva Srimtesu, C. tapath)srante K.

१ Ayarogesu pra’, ©, “mupayogesu, K. 19 (C.5b-6a; £, 19).

20 (6.67; K.20ab.). | ¢atha caryayogena, K. (tatha canyayo- gena, ©.)

2 C, 6 and 7a seem to be variant of each other. Seo K. 20a which we accept, 21 (6. 8). 1 K. omits this.

22-93 (C.9-10; K.XXVI.18b-15a). + Svapadavaktras ca, एए, 6ण7- padasimha’ ca, ©,

१ kharostragoinants Latha K. khasostra varanas tathi, 6,

+ 24 (6.11; K.XXVJ.15b-16a),

-XEXY. 80] DISTRIBUTION OF ROLES 541

master) should, according to his discretion, have the masks (lit them) made by means of clay, wood lac and leather. The first entry of a character 24. After concealing his identity (lit. his own form) by means of painting and make-up one should enter the stage in his natural State (bhava)}, The result of proper impersonation 25-26. If in the production of a play a person is to be assigned? a role which fits in with his nature and physical form, then he [very naturally] represents it (lit. renders his States). [He will be] like a man who renounces his own nature together with the body, and assumes another's nature by entering into the latter’s body. The psychological preparation for impersonation 27. Thus after thinking within himself that “I am he” a wise actor should represent the States of another person by speech, gait, movements and gestures}, Three kinds of impersonation 28. Human characters according as they ave represented on the stage [by actors] fall into three classes: natural (पढ), unnatural (१72) and imitative (क्ता क), The natural impersonation 29. When women impersonate female characters and men male characters, and their ages are similar to that of the characters represented, the impersonation is called “natural” (antrupa)'. The unnatural impersonation 80. When a boy impersonates the role of an old man, or an old man that of a boy, and betrays his own nature in acting, the representation is called “unnatural”? (virtipa),

1 The implication of this is not clear.

25-26 (C1218; K-XXVI-16b-18a). } prayojyam, K. prayuktam, ©. Cf. NS. XXIII. 79.

97 (0.14; K.XXVIL18b 19a), +A very practical instruction.

28 (0.15; K.XXVI1). 4

29 (0.17; K.XXVI2), 1 ©. reads 88 before this with a slight variation. 30 (C.18; K.XXVI.8), £

542 THE NATYABASTRA [EXXV. 81.

Imitative impersonation

31-32. When a man impersonates a woman’s character? the impersonation is called “imitative” (ripanusarini). [Following this very principle] a man’s character may, at one’s option, be represented by a woman. Butin cases of such an inversion of roles (lit. mutual efforts), one should see that persons employed are neither old nor ugly (lit, should make them old or ugly).

Suitability of women in some roles

33-35. Characters of delicate nature? are always? to be represented by women, and hence® such roles of gods and mortals {are mostly to be represented]* likewise. [ण] just as among the gods (svarge)5 drama depends on [females like] Rambhi, Urvaéi and the like, similarly among the mortals (manuse lobe) too the same rule holds good in the harem of kings, And [hence] teachers (acarya)® should instruct women [in acting], according to the Sastras.

35-36. As amorousness (vil@s«) is natural in women they possess likewise naturally graceful limbs which are casily accessible to the Sausthava. But the men’s Lolling (/a7ita) should depend on decorative movements (alanhara).

Training for women in different roles

27. A good Director (lit. wise man) should not get women’s roles supervised by himself (syayam), But masculine (lit, production depending on men when assigned to women should be carefully directed [by him].

Result of proper assignment of roles 38. Roles assigned to persons of various nature, and age,

31-82 (C.19-20; K.XXVI4-5). 1 As in the Shakcspearian stage. Ag. (p. 502) explains 07000 as एच (ugly).

33-35 (C.21-23a; K.XXVL6-8.). | bhumikam sukumiram, ©. द्र distham, KX) ? nityam, ©. ortiam, K, 2 atyartham C. ityartham K. * minusinim, ©, prakrtinam, K. © Cf, Vikram. IL. (Viskambhaka). ५ The trans. is tentative.

35-36 (C.24b-95; KXXVI.12-13a). " 8०० NS, XL. 88-91.

37 (6.26, 56e; K. XXVL10a-11b).

98 (C.16; 26b;"K.XXV110b-11a),

XXKV. 43] DISTRIBUTION OF ROLES 548

who depend on natural limbs will very much embellish ४ dramatic performance', Result of employing women for acting 39. Dance and music (samgita) without fatigue is always [considered] a quality in women, and a dramatic production ‘attains? partly the sweetness and partly the strength due to this’.

40. A woman who is an adept in the practice of love and is an expert in [representing] love-affairs appears through her graceful acting on the stage (natyavilasa) like a creeper full of various charms on account of its [many] flowers.

41. Hence [a Director] should always bestow undivided attention to the [women’s] exercise (yogy@) [in dance and music}. Kor without such an exercise the States, the Sentiments and the Sausthava cannot be produced [by them] in the least?.

The two types of dramatic production

42. The production of a drama which includes many States and Sentiments is of two kinds: delicate (sukwmara) and violent (a@viddha)®.

The delicate type of production

43. The Nataka, the Prakarana, the Bhana, the Vithi, and the Aika are known to be of the delicate typet. For they depend [for their production on the impersonation of} human beings only.

Read this couplet as follows: तुल्याक्याग्ियोपेता yfear vated t waa खभावकरणाशयाः,

39 (C.27; K.XXVIL9). | dhajate; KK. (bhavati, ©). Road naftyam brayoge ca for natyam proyogena, ©, K. * The passage is corrupt.

40 (C.28). 1 This shows the benefit of engaging actresses. The employment of boys to represent women on the stage was considerably a handicap with Shakespeare in depicting female characters. On this see “Shakespeare's Dramatic Art” (p. 54) in A Companion to Shakespeare Studies, Cambridge, 1946. K. omits this,

41 (C.29). 1 K, omits this, This passage 80608 to show the high standard of acting in the ancient Hindu theatre.

42 (C.30; KXXVI.20, XII44). ' Seo NS, XIV.'56,

_ 44 (0.81; K.XXVL21, गरा, ' See NS. XIV. 61,

54d THE NATYASASTRA [XXXV. 44.

44, This delicate type of production is pleasing to kings. Hence plays of this class when they are found to posses [chiefly] the Erotic Sentiment, should be produced by women [only, for the enjoyment of kings]*,

45. The play in which there occurs violent fighting, great speed [of moyement] and much excitement, should be enacted not by females but by males.

46-47, Ifa play includes ordinary (lit. not exalted) inci- dents and no hurried or violent movement of limbs, and requires the observance of proper tempo, Time and regulated utterance of syllables and of well-seperated words, and does not abound in all the eight Sentiments in their exuberence’, then it may be made to be produced by women?.

The violent type of production

48-49, The play which requires energetic (Gviddha) Anga- haras? to represent cutting, piercing, and challenging, and includes [a representatation of] the use of magic and occult powers as well as artificial objects and costumes, and has among its dramatis per- sonde many males and small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles are applicd in its production, is of the violent (aviddha) type.

50. By the expert preducers, the plays of the Dima, the Samavakira, the Vyayoga and the Thamrga classes are known to be of the violent typet.

51. Production of plays of this type should be made by [an impersonation of] gods, the Danavas and the Raksasas who are majestic, and endowed with heroism, energy and strength?.

44 (C.26; K.XXVI.22). ' An instance of such a play occurs in

Priyadargika, Act. 1, 45 (C.32; K.XXVI_28). + 46-47 (C.33a; K.XXVI.24-25). | Read anastarasa-bahulam for . dsistarasakahalam. ए; ४ 0, omits these two couplets.

° %

48-49 (C.33-34; K.XX1I.45-46), 1 Read yac caviddhangahirants tor na cavidyaigabhavas tu, ©, tatra viddhangahiram tu, K. 866 NS XIV. 37-8.

50 (6.35; ताश). ' Read 50b as etanyaniddhasamsnani, K. ete,

See NS XIV. 59, == ध (0.86 K.XIL48). } See NS, XIV,'60.

-XXXY. 57] DISTRIBUTION OF ROLES 545

52. Thuy one should assign roles of different characters in the production of a play. Now T shall speak how the drama is to he produced with the help of the Costurhes and Make-up.

The typical impersonation of a king

33°55. How are the kingly qualities to he remesented by a limited number (7c) of dresses? Tu this connexion it has been eaid that when the dramatic conventions came into being among the people, the drama furnished with all these, was devised by me, And hence the actor (ida) covered with paint and decorated with ornaments will reveal the signs of kingship when he will assume a grave and dignified attitude’. And thus a person will be (as it were] the refuge of the Seven Great Divisions (stptadvipa) of the earth.

56-57. Covered with paints [in the role of a king and having mild movement of the limbs? the actor under instruction of the teacher should assume the Sausthava pose, and then he will look like a king, and [ordinarily] the king also looks like an actor®. Just as the actor isto be likea king, so the king is to be like an actor®.

58-59, The States are to be represented (lit. accomplished) hy the both by means of similar graceful movements and the similar Sausthaya of limbs?. Just as an actor under instruc- tion of the teacher illuminates the stage, so the king too should always be naturally brilliant (in his dress and demeanour].

52 (6.8; K.XXVIJ.26a).

83-85 (C, 38-40, K.XXIV. 76-78), | gimbhiryaudarya® XK. gim- bhiryaharye’, C.

56-57 (0, 41-42; K.XXI1V, 79-80), + Tho 56a should be emended as follows: द्वं न्तादिनेनेह शान्ते लङगवितैषटितम्‌ (दगैकंयाति तेनेह का, (1). 711 (Sartam) in place of artavyam in the next hemistich in K,).

2 ‘This isa very clever statement. ‘The king though he is nothing but an ordinary human being, often assumes consciously or unconsciously an extraodinary appearance. 3 806 above note 2.

59-89 (K. XXIV .81-82a). 1 samalilingasausthavitt (text,°vi for pit). 69 ;

046 THE NATYASASTRA { XEXV. 59.

Impersonation of the attendants of gods 59-60. The attendants of gods! should be made like those of kings, and in the drama they are to be given the costume, the language* and movements suitable [to their character].

60-61. The producer should give to the actor the natural appearance of a character by giving him [suitable costume] and hy associating him with suitable age through the make-up!.

61-62. Thus one should make a sclection of persons for representing kingly manners, I shall speak hereafter of the qualities desirable in producers.

The characteristics of a Director

Tn this connexion, I shall speak of the qualities of a Director. An enumeration of his qualities will constitute these characteristics ; they are : complete refinment of specch, knowledge ahout the Tala, rules for timing of songs, and of the theory relating to musical notes and to the playing of musical instruments?.

63-68, One who is an expert in playing the four kinds of musical instrument, well-trained in rites prescribed in tho Sstras, conversant with the practices of different religious sects and with polity and the science of wealth, expert in the manners of courte- zans, and in poetics’, knows the various conventional Gaits? and movements, throughly appreciates [all] the States (hava) and the Sentiments (vas), is an expert in producing plays, acquainted with various arts and crafts, conversant with the rules of prosody and the metrical feet, and is clever in studying the different Sistras, acquainted with the science of stars and planets and with the working of the human body, knows the extent and customs of the earth, its continents and divisions, mountains and people, and the descendants of different royal lines®, is fit to attend to the Sastras relating to his works, capable of understanding them and of giving

59-60 (८43; K.X XIV. 82b-83a). | 4171070, K. dravyanim, C.). .. # य ए, ; K. (debabhiisi, 6), "+ 60-6) {AUX 2(1प्.690-849). । This passage seems to be a variant of 25. 6}-62 (G.44 and prose; K.XXIV.84b and prose). 'K. reads the [roe pa -age differently. _ 64-64.(0,45-50; XXIV 98-98). 1 hiioyasastra. K., hiimadastra, ©. ४ * gatipracira, K. gitapraciiva, C), 9 prasutivit, K. prastitivan, ©,

XXXV. 75 ] DISTRIBUTION OF ROLES 547

instruction [on the subjects]; should be made a teacher (@carya) and a Director (sttradhare)4, The natural qualities of a Director 69-71. Now listen to me speaking about the natural quali- ties [which he should possess]. He should be possessed of memory and judgement, be persevering, dignified, poetical, free from diseases sweet [in his manners], forbearing, self-possessed, speaking sweet words with a smile, free from anger and greed, truthful, impartial, honest and resourceful (pratimauda). These are his natural qualities, Characteristics of an Assistant to the Director 71-72. ^ person of the middling type who has slightly less number of qualities than that the Director is to possess, should be known as an Assistant (pariparévila) to the Divector. Characteristies of an actor 72-73. An actor (ata) should be lively [lit. bright], pos- sessed of good physique, acquainted with theatrical accessories and their uses, possessed of [good] memory, conversant with the rules lol the theatre] and an expert in his own प्रणा, Characteristics of the Parasite * 73-74. Possessing the qualities which the Director (s@tra- hava) has with regard to the theatrical production? the Parasite (rita) should be an expert in dealing with courtezans, sweet- tempered, impartial, poetic, capable of sceing the pros and cons in any argument and be eloquent and clever. Characteristics of the Sakira 75, The सव्या who is to change his nature often will

५ The position of the Direetor (sti¢vadhara) sccms tobe comparable

to that of regesseur. See Th. Komisarjesky, The Theatre, London. 1935 pp. 15, 18, 19. 69-71 (C,51-53a; K. X X1V.99-101a).

71-72 (C,53b-54a; K.XXIV.101b-102a),

79-73 (C. 54b-55a; K.XXIV. 102b-108a). ' Cf, Komisarjevsky The Theatre, p- 20,

78-74 (C.b5be; K.XXIV.103b-104). ? Emend yuhtah sarva eva broyoginah into yuktah sarva eva proyoge ca,

75 (0,56; K.XXIV.105). 1 Sometimes connected with the Sakas.y see Keith, Skt, Draws, p. 69

548 THE NATYASASTRA [ XXXV. 16.

generally be dressed with gaudy (lit. brilliant) clothes and orna- ments, and will be angry without any reason and be pacified like- wise, and he will speak the Magadhi dialect.

Characteristics of the Jester 76. The Jester (ridisala) should be short in stature, hunch- backed, twiee-born?, bald-headed and twany-cyed. Characteristics of the servant 77. The servant (ecfa) should be fond of crafts (kala) gar rulous, uncouth in form, using scents, expert in distinguishing between persons who are to be honoured or not to be honoured Characteristics of the courtezan 78-81. Thus I shall now speak of the nature of female characters who have [many] natural as well as acquired (it. other | qualities', The courtezan (ganik@) should be skilled in acting and have the following qualities : she should be always engaged in attending teachers (for learning] and in the application of the art, and be endowed with sportiveness, Emotion. (tara), Feeling (11204), Temperament (sattvn), good manners, and sweetness, and be acquainted with the sixtyfour arts and crafts, expert in dealings with the king?, free from female diseases, and should have sweet and endearing words, and be unreserved, clever and uncon-, quered by fatigue®. Charaeteristies of the typical Heroine $1-83, A woman with the following qualities should be made the Heroine: she should be endowed with a good physical form, good qualities, character, young age, sweetness and strength, and she should be shining, tender, sweet, uttering charming words with a lovely voice, not, unsteady (lit. perturbed) in the exercise (yoyya)? and should be conversant with tempo (aya) and Time (1200) and the Sentiments.

3."

16 (C.57; KXXIV.106). 1 10407, K. स 00, C. ¢. 77 (C38; K.XXIV.107), 78-81 (U.5%-62a; K.XXIV.108; 111-113). ' ©, omits 78 (K. XXIV. 1६}. ५ 11000, ©, nritopacirakusala, K. + 1९. reads tayo additional couplets before 79. * 8।-४ ¦ (C16 2b-G4a; KIN XLV. 4116), ? yogyiyum, C. Ghindaughats).

-XXXY. 89 J DISTRIBUTION OF ROLES 549

Women disqualified for being Heroines §3-85. But women with the following characteristics should not be made Heroines (pratrti, lit. character)! in a play : smiling on wrong occasions, having violent gaits and efforts, persistent anger, being always haughty and unreserved and unraly® fin their manners], havi :g all kinds of diseases and lacking garlands and scent [to adorn their body}. Members of the typical theatrical party. 8d-88. 1 shall hereafter speak of different members of the theatrical party (dharata), [They are :] Bharatas (actors) because of their following Bharata (the author of the Canons of Drama)? the Jester (vidistka)?, the musician (tauripe), the actordancer (uals), the Director (stitrathara), playwright (natyakara), the inaker of head-gears (wukitakara)§, the maker of ornaments* and garlands, the dyer (rujaba), the painter (citrakara) the craftsman {2/1}, artistes (@ilpin)®, and Kugilavas? who are to be known, O Brahmins, by their names.

“ 88-89, As he conducts! the [performance of a] drama by acting in many roles and by playing many musical instruments and by providing many houschold accessories (upatarana) he is called Bharata or a member of the theatrical party.

Characteristics of the Jester 89-91. One who betakes himself to various places (lit shelter) connected with the movement. of all kinds of characters and creates [thercby}* pleasure for them and sometimes takes shelter

93-85 (C.64b-66a; K.XXIV.117-118). ' Read 98a as एवं विधा न ater waver प्रहतैः 2 asthiima’; K. (asthana’, 0).

3 fatha camibhytodbhats K. (f. 0); tadi tu nibhrtodbhala, K. tathodorttodbhata sada, C ;

85-88 (C.66b-69a; of. XXXV.21-22), 7 ©, reads 85a as follows : भिलयक्नारोपकारौ च दूषकः सोतिक्रो नटः. 2 taurtpo, K. (taurtko, 1६.)

५ Road mukulakirakkah for kulakarakah, C.

५ Read dathibharana for tathaharana, C

5 aca: तचरजकादयः) falar: सुवयकारादयः in Nayacandriki on AS. note, p. 97. ५ See note 5 above, | Rumtliavas ca, C

88-89 (C.69be; K.XXXV.23). | Read uddhared for uldhkiro, K. €,

‘89-91 (C.70-71; K.XXXV.24-25), 1 89-91 seem to be corrupt, »

550 THE NATYASASTRA [ XEXV. 9

with women [for the same purpose] and who is ready-witted, a maker of funs, and whose speech is always connected (lit, adorned) with the disclosure of extremely humerous ideas, is called the Jester (vidiiswha),

Characteristics of the master-musician

91-92, One who is an expert in playing all kinds of musical instruments and has taken [specially] to प्ण, is called Tiirapati?, ‘Tiiryapati or Tauripa (master-musician).

Meaning of the word ‘Nata’

92-93, The meaning of its root wadu is to act (lit. acts), and hence, as he acts (represents) the affairs of men with the Sentiments, the States and the Temperament, he is [called] an Actor (wade),

The Benediction defined

93-05, As one addresses by it the people with sweet words of blessing and auspicious ceremonies, it is called the Benediction. Because in the performance of a drama one speaks through it in many ways of the welfare! of people by means of reading prayers in Prakvit or Sanskrit, it is called Benediction®. ^

Characteristics of the Director

95-96. One who knows from the instruction of the Sastra the principles (stra) of songs (2/4), instrumental music (vadya) and the Recitatives, [and all these] in conformity with one another is called the Director (stdruhavra, lit. holder of principles).

Characteristies of the playwright

96-97. As one assigns (in a play] the [different] States together with the [different] Temperaments to different characters*, one is called the play-wright (natyalara)*.

Sethian, See -- -- --+- - 01

91-92 (C.72; K.XXXV.26). | Stirapate, ©. tor कष K. 92-93 (0.73; K XXXV.27). | For another def. see below 97-93. 93-95 (C.74-75; K.XXXV.28-29). + wanyo, C. for niindyo, C. 2 These two def. of the Benediction (mandi) seem to be out of place hapoyt Vor the other def. see NS. ए, 24-25 ; 107-113, ‘495.96 (C.76; K.XXXV.30), : 96-97 (C.77; K.XXXV.31). | Read bimi-vikalpam for °vtkalpo, C. "ikolpaiti, K. _ > His duty was to compose a play on any given theme He is comparable to ‘posts’ employed by Elizabethan theatrical companies,

XXXY. 97 ] DISTRIBUTION OF ROLES 561

Characteristics of the Actor.

97-98. Any one who can act (lit. perform) a play according to the rules for the application of the four kinds of music, is called an Actor (nata),

Characteristies of the Actress

98-99. A woman who knows about the playing of drums the tempo, the Time and is able to create the Sentiments and is heautiful in all her limbs, should be made an Actress (nadahiya)?.

` ‘The maker of headgears

99-100. He who makes masks and various special dresses together with head-gears (éirsaka =pratifiraka) suited to (lit. arising from) the various characters, is called the maker of headgears (muhutehara).

The maker of ornaments

100-101. One who makes ornaments according to various rules is ealled the maker of ornaments (@haranakrt) ; [each of the makers the different ornaments] is to be designated according to the name of the material he uses?.

The maker of garlands

101-102. He who makes five kinds of garland is called the maker of garlands (malyalyt).

The costumer

And he who designs costumes is called the costumer (vesahara),

The painter and the dyer

One who knows painting, is a painter (citralara), and from his knowledge of dying (विषाद) a person is called a dyer (rajaka)t.

97-98+(C.78; K.XXXV.32). 1 K. reads 981 ns seri weary कद वै

aaa भवति, 98-99 (C.7"1:, 1K, omits this. The word #idara (=nitaliv’) occur in [क्फ 14.7, 99-100 (C.80; KX XX ४.५1}.

100-101 (C.80; K.XXXV 34). ` The signitieancs of this sateen -

15 not apparent.

101-102 (C,82-83a; K.XXXV.35-36a). 1 This wrod ofr wid un ,

New Indo-Aryan in the sense of ‘washerman’,

552 THE NATYASASTRA [ XXXY. 103-

The craftsman

103-104. One who fashions different objects ont of

lac, stone, iron and wood, is called a craftsman (hav), The Kuéilava :

He who knows the principles of applying the different branches of instrumental music (@fodya) and is an expert in in playing them, and who is [besides] clever, refined (aradatu), free from sickness, is called the Kuéilaya®.

The other members of the party

104-105. The man who takes to an art (ipa), a profession or a practice and has himself acquired proficiency in it, is called by its name. So much about the communities (ते) known in connexion with the rules of theatre as the Natas? who relate to various accessories [needed] in the production of various types of plays.

106. I have spoken about the assignment of roles and about the producers of a drama according to their function, and have delivered the Canons of Drama. Please mention, O sages, what more is to be said now?.

Here ends Chapter XXXV of Bharata’s Natyagistra, which treats of the Distribution of Roles.

103-104 (C.83b-84; K.XXXV.36b-37), ` K. reads 1049 differently. The ctymology of द्द has very much excreised the ingenuity of modern scholars. See Keith, Skt. Drama. p. 30

104-104 (85-86; K.XXXV.38-39) + ven now-a-days the people of the Nata community play drums, make dolls flower-garlands, पात्‌ paint pictures. 106°(C.87), ' ए, omits this.

CHAPTER THIRTYSIX THE DESCENT OF DRAMA ON THE EARTH

Sages question 1-2. Being pleased, the sages again spoke out of curiosity to the omniscient Bharata as follows: “The ancient Natyaveda which you have recounted, has been properly comprehended by us listening it attentively?.

3, [But] you, revered sir, should also satisfy (lit. explain) any [further] curiosity (lit. doubt) we may have in this matter. For who else can speak definitely about the Natyaveda ?

4-5, We shall enquire from you [more] about the drama for our enlightenment and not out of distrust or rivalry or jealousy. We did not speak earlicr (lit. then) lest it should interrupt you then. So speak to us exhaustively about the mystery of the drama’.

6. You have said [पालयतु that exploits of the people constitute the drama ;henee you should speak definitely about the rest of things abont the people, which are still unknown (lit. hidden).

7-9. Othe best Brahmin (lit. the bull of the twice-born) tell ns abont the character of the god who appears in the Prelimi- naries, Why is he worshipped, and what docs he do when worshipped (lit. meditated upon)? Are gods pleased with it, and what do they do on being pleased? Why does the Director

1-2 (C.6-7; K.1-2). 1 ©, reads before this five couplets, giving the names of the sages as follows : Atrey, Vaistha, Pulastya, Pulaha, Kratu, Angiras, Gautama, Agastya, Manu, Ayus, Aruvat, Viévamitra, Sthilasiras, Samvarta, Pratimardana, Usanas, Byahaspati, Vatsa, Cyavana, Kasyapa, Dhruva, Durvasas, Jamadagni, Markandeya, Galava, Bharadvaja, Raivya, Valmiki, Sthilaksa, Kanva, Medhatithi, KuSa, Narada, Parvata, Susar- man, the two Ekadhanvins, Nisthuti, Bhavana, Dhaumya, Satinanda, Krtavrana, Jamadagnya Rama, and Jamadagni Vamana. These how-ver seem to be an interpolation. 3 (C.8; K.8). ee

4-5 (C.9-10; K.4-5). ' K.reads 5b as follows :- v2} wafitert, “ra ye ware, 6 (C11; K.6). ४ 7-9 (C.19-14; K.7-9).

70

554 TOE NATYASASTRA [ XXXVI. 10.

being himself clean, perform ablution again on the stage ?? How, 0 lord, the drama has come (lit. dropped) down to the earth from heaven ? Why have your descendants been known as Stidras ?”2 Bharata’s reply

10. Bharata said, “I shall tell you, O men of excellent vows, the inner meaning of (lit. confidential) the story about the Prelimi- naries. Listen it properly.

The Preliminaries and their uses

11. The Preliminaries have been deseribed by mein conti- nuation of whatever I have said [earlier] about the destruction of obstacles?.

12-16. Just as the body is covered! with armours for rarding off missiles*, so the sins of all kinds are checked by Homa’. After I have thus destroyed the obstacles and warded off sins by worshipping the gods with Japa, Homa, words of adora- tion and blessing, and songs about their deeds and attitude, the playing of all musical instruments and the [swect] sound of [other] songs* [as well], they (the gods) being pleased with the singing of the praise said, ‘We are exceedingly delighted with this performance of yours ; as it pleases the people after pleasing the gods and the Asuras, this performance will be called the Benediction’.

17. The region which is resounded with music [vocal and instrumental] and in which speech with charming intonation can be heard (lit. arise) will destroy [all] evils and will bring prosperity.

18, As far as the space is filled with the sound of musical instruments, so far there will stay there no Raksasas or leaders (vinayaka) of Vighnas?.

19. In marriages of all kinds! and the sacrifices performed

1 86९ NS. ए. 80.88, = * K. omits 1b but reads 9b which is lacking ॐ0 = 10(C.15;K.11), 11 (C.16; K.12).} Seo NS. V. 12-16 (C 17-20; K.13-17). } Sariravaranam, K. sartricaranam, 0. 2 gastranim, K. (Sastranam,C.). = > hutenaiva, K. (smrtenatva, ©, ५ gilasvanena ca, K. gitasvanini ca,C.). 1? (6.91; K.18). 18 (C,22; K.19). 1 Read 18b as न खादति fe vaifa a विप्रविनायकाः a खयाखन्ति हि रासि तं és न विनायकाः K., तातरतानां प्रभं किञ्चित्‌ न च विघ्नविनायकाः, ©, - 19 (6.28; ए.20).` 1 Goahe ca ०४१८ ca,

XXXVI. 26 | THE DESCENT OF DRAMA 555

for the prosperity of the king, the ferocious beings will make themselves scarce on hearing the sound of the Benediction.

20. The instrumental music, or the drama? or the songs together with the instrumental music, will be equal [in importance] to the exposition of the Vedic hymns?.

21. Ihave heard from the god of gods (Indra)? and after- wards from Samkara (Siva) that music [vocal and instrumental] is superior to a bath [in the Ganges] or Japas for a thousand times®.

22. The places in which there occur the instrumental music and dramatic performance', or the song and instrumental music, will surely? never know any kind of inauspicious happening.

28. Thus Ihave devised the Preliminaries as a ceremony of adoration for worshipping the deities with laudatory verses and Mantras?.

iThe ablution of the Director on the stage

24. As the head? becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water?.

25, After the ablution the Director should worship the Jaxjara with Mantras. All this has been said in connexion of the Preliminaries’. This is the reason for the ablution.

20 (C.24; ए.21), 1 watyam, K. Brutoa, C.).

2 This seems to show that in the beginning, the carly Vedie people were not favourably disposed to the dramatic performance. For more on this see the Introduction.

21 (C,25; K.22). 1 Cf. 20 note. 2 above.

2 This seems to indicate that not only the early Vedie people who cared little for the asceticism, but other religious sects as well, did not favour the dramatic performance. This may be the reason to put the thea- trical performances which included music above the religious practices of such sects. For more about this sec the Introduction.

22 (0.26; K.23). 1 Read atodya-natya$c. tur 1 49 C. “natyasya, K. 2 Read miscayam for miscayal, 911, Be

28 (C.27; K.94). | This scems to show that 1° drama wav also connected with a particular religious cult!

24 (C.28a; K.25). |} Read Srvas tu for Serasa 1 । Situm Lad, K.

५ C. omits 24b. See below 25 note. ,

2 (K.26). ¬ €, omits this this. See Ns. V. 1u-83-

556 THE NATYASASTRA [ XXXVI. 96

26. I shall now tell you in detail how the drama came (lit. "dropped down) to the earth from Heaven, for I am unable to withhold anything from you!. Bharata’s sons offended the sages by caricature 27-29, All these sons of mine? being intoxicated with [the knowledge of] the Natyaveda tired the entire people with the Pra. hasanas? connected with laughter, In course of time they devised a play (lit. art)® which treated the indulgence in vulgar passions. And by them was produced in the assembly of the people a drama (lit. poem) which was unacceptable, full of wicked deeds, inspirer of vulgar passions*, cruel, unworthy of any praise and in which they caricatured the sages® by means of buffoonery (bhanda),

The sages curse Bharata’s sons 30-31. On hearing this, the sages were extremely angry and excited, and spoke to them (sons of Bharata) burning them as it were [with their words], ‘O Brahmins, it is not proper that we should be thus caricatured. What is this insult [01] and what is your intention ?

32. As’, due to pride in the knowledge [of the drama] you have resorted to arrogance (avinayu) your evil knowledge will get destroyed.

26 (C.28; 1८.27). '26b which is fragmentary in K. should be reconstructed and emended as follows: [ कथं निपतितं watq | ना्मेतन्रहीतहे C. gives only the the second half of 267, as its 28b.

27-29 (K.28-30), 1 mamatte tanayih; C. for sarvametat tuaya, ए,

* Read sarvalokam prahasanisr for sarvaloka-prahasanair, €, K.

* Read se/pakarma stmabhyadhuh for Silpakarma mamabhyadhat, C,

‘This seems to indicate that the early Indian theatre sometimes resorted to sex-appeals just like the cinamctographic shows of the modern times. :

5 rsinam nyaigakaranam, K. for rsinam aigakaranam, ©,

- ई Tn this caricaturing there might have been some justification. Seo ई XX. 103-104 and note. All this may be said to show clearly that the 4: ama as an instrament public criticism was recognised very carly,

30-31 (C.32-38; K.3 L-32),

32 (C.84; 1९.38), ` "40४, K, (tasmit, C.)

च

-XXXVIL_ 43 ] THE DESOENT OF DRAMA 557

33. In the community of the sages and Brahmins, or in meeting them you will appear as being no followers of the , Vedas and will attain the conduct of the Siidras.

34. You will become mere आपा, and attain their functions, and those to be born in your line will be Siidras [too].

88. Those actors (navtala) who are already born in your line will be Sidras, and go will be those together with their women, boys and young men, who associate with them’,

36. The gods on learning the origin of the curse on my sons became anxious and went to the sages.

Gods intercede in favour of Bharata’s sons

37. Then the gods with Sakra (Indra) as their leader said

that, afflicted with this misery the drama would perish?.

38. The sages said in reply that the drama would not perish, but the remaining portion only of their curse will take effect in its entirety.

Bharata’s sons approach their father

39-4, On hearing these words of the very spirited sages, my sons? became [very] sad and with a desire to defend them- selves they approached me in anger and said, ‘We have been ruined hy you, for the fault of the drama we have been endowed with the character of Siidras’.

Bharata pacifies them

41-42, For their consolation I said, ‘Do not to be sorry for it; the rule that words of the sages will never prove untrue, has in- deed been made by Fate (Iytanta) ; so you should not turn to the destruction [of the art}. “These are my words of consolation.

48. Know this dramatic art that has been described

33 (0.85; K.34). 34 (0.86; K.85a). K. omits 34a. 35 (6.87; K.35b-86a). 36 (C.38; K.36b-87a).

87 (C.39; K.87b-38a). | Read 877 ag follows: veri qagaw meting. विनश्यति, 38 (C. 40; K.88b-39a).

39-40 (C-41-42; K.30b-41a). । Read sual, for surih, 6, and tatah, K. 41-42 (C.43-44; K.41b-42),- 43 (0.46; K.48),

568 ˆ कष्ठ NATYASASTRA [ XXXV. 44

by Brahman [hinself], and teach it to your disciples and others through its application.

44. Do not destroy this drama which has been devised with great difficulty and which includes great things, brings great merit and has ity origin in the Angas and the Upangas of the Vedas?.

45, After holding the dramatic performance according to the rules which I heard from the Apsarasas, you all are to undergo a purificatory ceremony (prayuscitla)".

Nahusga invites divine artistes to the earth.

46. In course of time a king named Nahusa? attained the kingdom of Heaven through his polity, intelligence and prowess?.

47. He then governed the kingdom and felt a divine desire. And on secing the musical performance (yrandharva) and the drama [of the gods] he became anxious [about these],

48. He thought? within himself how the dramatic perfor mance by the gods® should take place in his house® {on the earth).

40. Then for such a performance the king said to the gods with folded palms: ‘Let the drama [produced] by = the Apsarasas be performed in our house (i. ९. on the carth)’

Gods rejected the request

50. But in reply, the gods with Brhaypati as their leader said to him: The meeting of divine damscls and mortals has not been prescribed [anywhere].

51. As you are the lord of Heaven you should be given an advice which is both good and pleasant. Let the master [of the dramatic art] go there (1.९, at your place) and please you.’

44 (0.46; K.44), ™ Cf. above 20 notes, 45 (C.47; K.45). 1 Emend 45a as follows: Wade इदं दैव amare मथा गतम्‌, 46 (C.48; K.XXXVII.1b-2a). 1 Nahusa mentioned in the Reveda, Ram. Mbh. and several’ Puranas, was possibly an historical person. 306 LK £. sub ००८६, 9 K. reads one fragmentary hemistich before this. 47 (C40; एय , 4 (6.0; K.XXXVII.3b-4a). | Read so’cintayat tu for sa cin- , ८०४००, C. (०८0005४, 1, == 2 Read bhaved 2706०016 krtah for bhaved itt sasambharmah, ©, bhaved divi devara eva san. K, “3 grhe mama, K.Ugre unmanah, C.) 49 (C51; KXXXVIL4b-5a), 50 (C.b2; KXXXVIL5b-Ga). 1 (C.53; KXXXVII.6b-7a).

XXXVI 68] THE DESOENT OF DRAMA 559

Nahuga approaches Bharata

52, Then the king with folded palms said to me,

‘O revered sir, I should like to see this dramatic performance established on the earth.

53. Ihave been promised earlier the help of your pro- fessional service (@caryha)!. 0 the best of Brahmins, I have now got it directly (ryaktabhavasrayam [ठ

Urvagi and the mundane drama

54. In the house of my grandfather (Pururavas) this {drama] together with his work has been described by Urvaéi to the members of the harem.

55. But when the members of the harem were distressed by the death of the king who turned mad! due to her disappearance from the earth, this (dramatic art) was lost.

56. T wish this again to be openly produced on the earth, 80 that the sacrifices to be done on different days of the moon (tith?) may be rendered auspicious and happy.

77. Hence plays (handha, lit. composition) relating to many characters produced in my house through the graceful move- ments of women, will add to your fame

Bharata grants the request and sends his sons to the carth

58-61. ‘Let this be 80 said I then [in reply] to Nahusa the king, and I called my sons along with the gods in a spirit of conciliation and said to them :

‘This king Nahuga begs us with folded palms that you may go down with your associates to the earth to produce the drama there. The drama being properly produced there, I shall make an end of your curse and you will no longer be be despised by Brahmins and kings. So go down to the earth to

52 (0.54; K.XX XVIL7b-8a)

58 (C.58; K.XXXVII.gb-9a). ' Read 58a as follows: yaaraéa देव भवती fie प्रतिग्रुवम्‌, 54 (0.56; K. XXXVII.9b-i0a).

85 (C57; K.XXXVIL10b-lla), 1 See Visnu P. IV. 6, 7. Ref, JK.

56 (60.58; K.XXXVIL I1b-12a), 57 (C.59; K.X XX VIT19b-18a).%

58-61 (C.60-63; K उणा अनम)

560 NATYASASTRA XXXVI. 69

produce dramas there, [for] I shall not be able to disregard the words of this earthly king. Kohala is the successor of Bharata

62-63, For us and for Nahusa, the self-born one (Brahman) has spoken in brief on the dramatic art which depends on his own instruction. The rest will be uttered by Kohala’ in his supple- mentary treatise (wtéara-dentva) which consists of the application tion (of the rules], the Memorial Verses (tari/'a) and the Etymolo- gies (nirukta).

64 This Sastra for the purpose of diversion (lit. toy) has been established by me in Heaven with the help of the Apsarasas and the sages Svati and Narada.

Bharata’s sons come down to the carth

65. Then, 0 Brahmins, they went down to the carth in the house of Nahusa and devised in due order the production of various plays with the help of women.

66. Then they, my sons, hegot progeny in women of the carth and devised for them more dramas (lit. creation) on various themes,

67. . After begetting sons and devising playsin duc order they were permitted to return again to Heaven,

68, Thus through a enrse the dramatic performance bas been brought down to the earth, and the future generation of the dra- matic artists (hharata) came into being.

Kohala and his associates

69-70. Kohala Vatsya?, Sandilya?, Dhirtila (Dattilas)® and others stayed in the earth for sometime as mortals and put into practice this “astra which augments the intellect of men, deals with the deeds of the Three Worlds and is an epitome

८

of all other Sastras.

62-63 (C.64-65; K.XXXVII.17b-19a). ' See the Introduction.

99 (0,68; K.XXXVII19b-20a), 6४ (C.67; KXXXVIL20b-218), 66 (0,68; KXXXXVII21b-22a), 67 (C.69; KXXXVIT.22b-23a). 68 (C.70; K.X XX VII.28b-24a),

69-70 (71-72; K.XXXVIN24b-26a). 3-8 See the Introduction.

re

-KXXYVI. 77] DESCENT OF DRAMA 661

Value of the Natyasastra

71-73. He who always hears the reading of this [Sastra] which is auspicious, sportful, originating from Brahman's mouth, very holy, pure, good, destructive of sins, and who puts this into practice or witnesses the performance [of a drama] will attain the same [blessed] goal which the masters of the Vedic path and the masters of the Vedic lore, the performers of sacrifices or the givers of gifts, will [in the end} attain.

Value of the dramatic show

74. Of all the duties of the king, this has been proclaimed as possessing the best result (mahaphala). Wor of all kinds of gifts, a free gift of the [dramatic] show [to people] has heen most praised.

75, The gods are never so pleased on being worshipped with the scents and garlands as they are delighted with the performance of dramas,

76. The man who properly attends the performance of music gandharva) ov dramas will [after his death] attain the happy and meritorious path in the company of the Brahminic sages.

The popular practice supplements dramatic rules

77, Thus many practices sanctioned by the Sastra have been described in connexion with the performance of dramas. Whatever remains unmentioned should be included into practice by experts ‘rom an observation (lit. imitation) of people (i.r. their usage).

The Final Benediction

What more should I say? Let the earth for all time be free from diseases, Let there he peace to cows and to Brahmins, and let the king give protection to this entire earth.

Here the ends Chapter XXXVI of Bharata’s Natyasastra, which treats of the Descent of Drama on the Earth.

71-73 (C.73-73; K.XXXVIL26b, 27, 28). ' K, omits 710 and gives the bal€ of 71a). 74 (0.76; KXXVII.29). 7 (0.77; K.XXXVIL30). 76 (C.78; K.XXXVIL31). 77 (C.79; K.XXXVILI.32),

ADDITIONS AND CORRECTIONS

Page XLVI line last Read ‘depends’ » XLVI , 14 , ‘XXVII. 63-69’ » LUXIV , 14 ,, ‘Natyasastra’ » LXXII ,, 16 4, ‘corresponding’ ‘3 » 3 (from the bottom) Read ‘about’ after ‘doubt’, and ‘of for ‘are’ » UXXIII ,, 3 Read ‘summed! Page 1 line 13 Road ‘Pitamaha’ for ‘Pitmaha’ » 3 y 26 ,, ‘Brahmana’ for ‘Bramana’ » 5 » 14 Omit the fullstop.after ‘ordered’ 6 ,, 8 (from the bottom) Read SD. (294) » प » 2 Read ‘Bhayanaka’ for ‘Bhyanaka’ 7 4 15 + ‘Need of the Graceful Style’ 8 , 4 », ‘for practising the Graceful Style’ » 9 + 4 (from the bottom) Read ‘casc-endings’ for ‘nominal’ » 1] „+ 18 Read ‘said’ for ‘saids’ » 14 4 20 + ‘of the gods’ for ‘of the Daityas’ » 16 , 9 (from the bottom) Reud ‘reads one’ for ‘readsone’ » 19 ,, 7 Read architect’ for ‘architecht’ » 19 » 12 5 (avara)® for (avara) » 19 ,, 23 Omit ‘According’ from here and put it before ‘to Ag.’s’ in the next line. » 19 + 95 Read ‘medium’ after (iv) » 27 + 9 (ण the bottom) Carry ‘and’ after rahgapitha + ‰9 + 19( + ^ ) Read gatq for Faq » 81 + 17 Put! at the end of the line, » 9 (from the bottom) Read ए. 102b for 1026. » 84 „+ 10( „+ » ) Read ‘rather’ for ‘very’

+ 9( + + ) Add the following: Yajiavalkya who has been assigned to the 400 A.C, by Jolly, mentions 6811648, (See Hindu Law and Customs, pp. 42-44)

» 4(from the bottom) Read samprayujya

„+ 8४ , 17 Read ‘18-20’ for ‘18’. » 33, 2 (from the bottom) Omit ‘+ See ‘diagram 1,’ » ॐ „+ 12 Putacomma after ‘sweet meats’ » 40 + 20 ,, ‘Then an’ for ‘Then a’. » 8? „+ 23 Omit (Valtra)' after ‘Aviddha’ (for ‘ividdha’) 98 Put ‘(krame)’ after ‘Cari’ last. Omit ‘Defined nowhere in the Ng.’

(B)

Page 58 line 3 (from the bottom) Read ‘Talagra’. `

» 67 » ?3 » 16

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+

9

6( » y» )Read Harivaméa for Hraivainga. 12( „+ 4 ) Read (sukwmira) for (sukmira). ४{ „+ » )Put(p.194)' after BhP. and ‘See also’ before SR. and Read परिवर्त for uftaniz, 4 (from the bottom). Add after ‘drama’ the following : Sitar probably is developed from the c#tra (vind), 6 (from the bottom) Put ? before ‘B, reads’, 24 25 Read prayujya for prajujya 7 Close the bracket after ‘meaning’, 12 (from the bottom) Read family’ for famiiy’. 9 Abs Read ‘traditional authority’. 9 Read ‘Excessive’ for ‘Violent’ 17 ,, middling type’ 1 ‘Sentiments’ 1] + ‘bhavila’ for “bbienta’ 9 ,, ‘Determinant’ for ‘Diterminant’ 15 ,, ‘Mouth’ for ‘Monto’ 18 ‘Intoxication’ for ‘Totovication’ 5,6,12 Correct the misspelt ‘Depression’ 18 Omit the comma after ‘biting’ 14 Read prakrit-vyasana 9 (from the bottom) Insert ‘and’ after ‘potsherd’ 2 Read ‘is’ for ‘ie’ 10 Omit the fullstop after ‘mounts’ and insert ‘and’ 11 (from the bottom) read ‘stage’ for ‘tage’ 10( „+ =~) Insert ‘and’ after ‘sleeping’ 16 Read ‘Sentiment’ 17 ,, ‘depend’ for ‘depends’ LL सद्ुरभूत for WET 10 Omit {slightly]}’ and insert ‘up’ after ‘raised’ 5 (from the bottom) Read ‘Parna’ (full) 6, 18 Read ‘lip’ for ‘lips’ | 1) Add the following after ‘will’ [enhance the charm of the night] 13 Read ‘With’ after the fullstop. 7 (from the bottom) shift ‘from’ before ‘Aundala’. 2( „+ „+ ) Read ‘Andre et’. 11( >» + 2) Read aaatafirdaa | 2( + + 2) ८4, 16 Read ‘gait of women’ 17 „ “distant place’.

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Page 248 line 17 ,, abhyata.

» 253 +, 2४४ » 272 „ 277 » 284

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”

19, खानर्घो" for arena?

14 ,, ‘combines’ for ‘combine’, 17 +, ‘bahumana’ foa ‘bhumana’ 19 „+ ‘gacchet’ for ‘gaccet’.

5 + ‘shoulders'’ for ‘shoulders’.

4 (from the bottom) Read before this as follows : 7 For long cars as signs of beauty see the Buddha images of the Mathura school belonging to 100 2. ©. onwards.

4 (from the bottom) Read ‘Halayudha’s’.

9 Read ‘fall upon’ for ‘rise from’

13 ,, ugglers’ for ‘jugglar’s at the bottom. Add after notes the following. See Introduction, section VIII para 4. 18 Read ‘leaders’ , 5 (from the bottom) Read ‘docs not change’ for ‘changes’ 21 Read @yusman iayusman.

7, ‘oxtant’ for ‘extent’

(at the bottom) Read before ‘Ex.’ the following Dusyanta’s charioteer addressing him (Sak. 1.) ?

2 (from the bottom) Add the following after the fullstop : ध । Magadhan prince is referred to as bhaddamuha by the female aseetic in Svapna. 1. 7.20. For the use of dhadvamutkha in inscriptions see Select Inserip- tions, no, 72. and Keith, Skt. Drama. p. 69.

11 Read ‘may also’ for ‘are to’ 12 Omit ‘mistress (bhatt) and’.

6 (from the bottom) Read ‘Jayasena’ for Jayasena’.

6 (from the bottom) Read ‘na mama’ for ‘nama ma’,

7 Read ‘a Supporting’ for an ‘Explanatory’.

11 (from the bottom) Read ‘a supporting’ for ‘an Explanatory’.

4 Read ‘those’ for ‘these’.

21 Add after ‘available’ the following: ‘unless the Pajicaratra is to be taken as such’ (See ID. p. 32).

18 Insert ‘of’ after ‘use’.

18 (from the bottom) Read rare anf wagfeenta

13 Read ‘are’ for ‘is’ at the end of the line.

23, ‘basis’™ for ‘basis’,

7 (from the bottom) Insert after ‘men’ the following : ‘unless Karga’ also is to be taken as such (See ID.

p. 58), .

(D) line up to the, bottom ‘+ diftakivyarasayonth: (Qacerar बोररोदरायाः तद्‌ उभयं योनिः कारवमल् Ag ) । Page 389 + 1106 (at the top) Read XXI. 71 for XX. 71. ५ 397 + 12 (from the bottom) Omit ‘but parts of scenes’. » 9( 4» 4 2 Read viskambhakah samskriah. ^ 5( + + ) Add the following’: ‘Also ef. NS, XX. 38. » 404 ,, 19 Read ‘Kathodghata’. _» 408 line 18 Read ‘the Theme’ for for ‘Various Feelings’, # 411 , 14 4 ‘samghatyaka’. » 420 10 4 Gauda' for Gauda 20 5, Ullekhya' 21. , Kumbhipadaka’, Avarta* » 425 ,, 21 non-Aryans „+ 2 ५ Add ‘See NS XVIII 44 note! » 4 (from the bottom) Read B, 0. for A. ©. +, 481 ,, 26 line the bottom at Read (Jtamuketa)” » 431 , 7 (from the bottom) Add as following : > The Usnisa of the Buddha images may probably be an imitation of the crown of matted hair. + 469 ,, 13 Read ‘their lover’ for ‘her lover’ » 486 „+ 14 + women’s heart, for ‘woman's heart’ 22 ., ‘self-esteem’ for ‘self-estcen’ » 488 ,, 19,20,, ‘quarternary’ „ 419 ,, 8 (from the bottom) Read ‘known’ for ‘hnown’ „ #1, 2( 4» vw» ) Add after the fullstop the following : The husband's conjugal right of punishment such as blows with a chord or rod, is often referred to in the Smrti literature (Manu, 8, 299f, Satxha, 4. 16 ete.) See Jolly, Hindu Law and Customs, p. 145, see also Kautilya, III. 8. ^+ 493, 5 ‘one’ after ‘time’ 7 (from the bottom) Read ‘abhinayasya’. » B02 „+ 21 Read ‘great’ for ‘greet’. „+ 808 + 11 „+ 1111112 for ‘110-111’. , + 1४ + 112118 for 111-112, » 89 ,, . 19 Put ‘of’ before ‘Time’.